What makes Pentatonix’s ‘Hallelujah’ great? An analysis.

After bagging another award at the 58th Grammys, Pentatonix dropped their third Christmas album titled A Pentatonix Christmas. The biggest track on it is probably a cover of Leonard Cohen’s most famous Hallelujah. Not long after its release, the music video made its rounds on social media, complete with stunning cinematography and impeccable styling.

The song and video has been featured on platforms such as Time.com, billboard.com, and Mashable. I was minutely concerned when I saw the song on the track list. There is no shortage of great arrangements and recordings of Hallelujah on YouTube, a cappella or not. But after listening to it, it is safe to say that Pentatonix retains its streak of bringing epicness to its covers. Thinking back, we are after all talking about the group that revolutionised Little Drummer Boy and Mary, Did You Know. So what was it about their Hallelujah that got us raving? Here’s a personal analysis with my humble knowledge. I hope it comes off as more than a mere description.
[Caution: It may get technical.]

For this analysis, the song will be split into six sections, titled A to F. Timings of each section have been listed.

Section A (0:00 – 0:53)

The basic form of Hallelujah may be broken down into a simple verse-and-chorus, with text to each verse different from the previous, similar to that of Amazing Grace. This would pose a difficulty for arrangers to keep the song interesting as it goes on. A popular approach to this would be to utilise the technique of ‘layering’, which basically means adding layers of voices or parts as the song progresses. It is also ideal to start with as little as possible, providing more room for expansion. Pentatonix starts with nothing but Scott Hoying’s solo, then adding long hums from the third line of the verse.

Pentatonix retained the classic word-painting in this song in lines ‘well it goes like this the fourth the fifth’ and ‘the minor fall the major lift’, where ‘fourth’ and ‘fifth’ is sung on chords IV (Eb) and V (F) respectively. Also, ‘minor’ on the minor VI (Gm) chord and ‘major’ on the major IV (Eb) chord.

The addition of voices on the syllabi ‘lu’ and ‘jah’ in the chorus not only defines the harmony, but also keeps our ears interested with the constant alternating between one and five voices. It further supports the pendulum motion of the melody.

Section B (0:54 – 1:49)

A two-bar instrumental section succeeds the first chorus. This instrumental serves as accompaniment to the second verse, in which Avi Kaplan doubles as lead and bass, though the bass may be covered by Scott. On top of the new rhythmic interest in the accompaniment, the change in timbre of the solo voice gives this section a different character. A change in the syllabus in the accompaniment from the brief ‘ooh’ to ‘ah’ gives the overall sound more resonance and intensity, and aids the build up to the chorus with mild aggression.

A nifty tonicization into the relative minor occurs on ‘drew the hallelujah’ right before the chorus, which acts as a temporal rest-stop before proceeding. This was also executed in the first verse and will occur in the subsequent verses.

The chorus here is a copy of the first, but with Avi as the lead. Another feature would be Mitch Grassi’s 4-3 suspension of Bb to A in the quasi cadential 6/4 (Bb 6/4, but just Bb in this case) to the dominant chord (F) on the final ‘hallelujah’ of the chorus. It provides a subtle tension-and-release before the conclusive perfect cadence. These harmonic details are better felt than heard. It is a passive way of drawing attention from the ear.

Section C (1:50 – 2:45)

A point to take note would be that the last note of the melody from the previous chorus ends on the first bar of the instrumental. The same two-bar instrumental is heard but with an addition of the body percussion by Kevin Olusola. Kirstin Maldonado leads this section. Much like our eyes, our ears are attracted to motion. In this case, the motion of sound is created by the ‘stomps’ and ‘claps’ by Kevin.

The verse takes a whole new accompaniment in this section. It consists of long harmony notes in the background with the occasional harmonisation of the melody tastefully done. The song grows in intensity as the melody approaches the higher range of Kirstin’s voice, giving it belt-quality. A downward motion on ‘ha-lle’ brings us back to the calm in the chorus where echoes of ‘hallelujah’ can be heard by the supporting voices after the lead. This section ends on the final syllabus ‘jah’ but not on the tonic note.

Section D (2:46 – 3:33)

Surprise! The instrumental which precedes each verse is taken out from this section. In fact, everything is taken out, leaving Mitch with the final verse. This is reminiscent of Pentatonix’s performance of Dog Days Are Over during their time at The Sing-Off. The accompaniment joins a few bars later but with little movements, reducing distraction from the ethereal quality of Mitch’s voice. At this point, we would have heard leads from all four vocalists. This keeps the song fresh despite the similar melody and format in every section. The pensive chorus in this section is a classic Pentatonix build-up before the climactic end. This is done with a unison part in the vocals and a steady pulsating by the bass and percussion.

Section E (3:34 – 4:05)

This is without a doubt the highest point in the song. It consists of two choruses as opposed to the verse-chorus format of previous sections. The first chorus is almost in plain homophony, with Scott belting and exhibiting his soulful voice.

The second chorus has Kirstin, Mitch, and Scott singing in triads with each ‘hallelujah’ going higher than the previous. Avi is left to echo the higher voices with his own line before joining them in a culminating chord V (F). Kirstin embellishes the melody towards the end with a note of anticipation, decorated with an upper auxiliary (Bb-C-D-C).

This section also brings back the hemiola of two ‘stomps’ against the triplet subdivision of the beat by Kevin, which was first introduced in Section C. It gives the song a stable drive.

Section F (4:06 – 4:30)

Surprise (again)! Not quite the expected ending to the last phrase of the final chorus. What we hear is a deceptive IV (Eb) chord as opposed to the expected I (Bb) or VI (Gm). Instead of a perfect or interrupted cadence, this section is a repeat of the chorus but without the first ‘hallelujah’. The rest of the section is hummed, giving the overall sound a better blend. This brings back the calm in the beginning.

Mitch does it again with a 9-8 suspension followed by a lower auxiliary (F-Eb-D-Eb) in the third phrase, then a final 4-3 as mentioned in Section B. The song finishes with a conclusive perfect cadence executed with a falling fifth in Avi’s bass to a Bb1, the lowest note in the entire song. Throughout the song, Avi has executed numerous octave leaps which enhanced the effect of the build-ups.

Theory and analysis aside, this arrangement and recording is also made great with the high proficiency in singing by the members of Pentatonix. They have proven once again how versatile the voice can be as compared to conventional instruments.

Interview: Cherie Tse

“The passion never stops growing, and I’m more sure about pursuing music today than I was yesterday.”

Cherie Tse is a Singaporean soprano currently in her final year of the BMus (Hons) programme by the Nanyang Academy of Fine Arts in collaboration with the Royal College of Music, London. Having studied voice with Jessica Chen and the late Lim Shieh Yih, Tse achieved a distinction in Diploma in Music at NAFA before continuing her studies.

Prior to her upcoming engagement with the Singapore Symphony Orchestra, Tse has performed as a soloist with ensembles such as the Mus’Art Wind Orchestra, Philharmonic Winds, and Chamber Sounds. Her aptitude has won her 2nd prize in the 7th Tan Ngiang Kaw/Tan Ngiang Ann Memorial Vocal Competition and the Gold Award in the 5th Bangkok Opera Singing Competition in 2013.

Tse will be singing in SSO’s Discovering Music!: The World’s a Stage: The Drama of Opera on 5 Nov, 4PM, at the Victoria Concert Hall. Tickets are available here.

Read on for an exclusive interview with Cherie Tse by Nicholas Ong.

Tse at a masterclass in Payerbach, Austria

Congratulations on all of your achievements thus far. To start things off, how and when did you decide to pursue music as a career?

Thanks Nicholas. I started playing the piano at the age of 5, and my passion in music grew since then. My exam grades and affirmations from people around me sparked my eagerness to become a better pianist. And by the time I was in secondary school, I knew I couldn’t stop there, and I wanted to further my studies in music.

I understand that you switched from being a piano major to a voice major. What was it about singing or the voice that captured your heart?

Well, I’ve always liked singing, but I never thought I was good enough to do it well. Before I entered NAFA at the age of 17, classical singing was almost non-existent in my world. I thought that opera or classical singers are just born with “big” and “powerful” voices, which was something I never thought I would ever have.

It was until I had to take a minor study in voice and had my first singing lesson with the late Singaporean tenor, Mr Lim Shieh Yih, that things started to change. In that particular lesson, he asked me why wasn’t I a vocal major, and that I should consider switching it. I remember being dumbfounded, but yet having a powerful feeling inside me. That power motivated me to learn and practice diligently. I even attended all the vocal performance and language diction classes that I didn’t have attendance or exams for.

Then, as I practiced and saw myself improve each month, I really wanted to develop my potential to see how far I’m meant to go, and how much more I could grow. I learnt to appreciate this art form so much more than I ever thought. I switched major in the following academic year, and it has been one of the most important decisions I’ve made.

How did you feel when you got news that you were going to sing the two arias with the SSO?

I was very thankful to be given this chance. I would dream of singing with the SSO, but I’d never expect it to come so soon. This is definitely a bigger stage for me because I’ll be performing alongside the musicians whom I look up to. It is such an honour.

Do you feel a different (possibly higher) level of stress considering the arias that you would be singing to be amongst the most famous in the world?

There is a level of stress, but I don’t think it’s from singing the famous arias. If I were to be performing less famous works, I would also hope to deliver them equally well and effective. In fact, my familiarity with these two arias made it easier for me.

Does singing two arias with such different characters one after another pose any challenge for you?

It is okay. I would need to take a little more time to get into the character of Carmen when I sing Habanera, just because I am very different from her. I’m probably much closer to Lauretta in O Mio Babbino Caro, so it’s not difficult.

You have sung with a wind orchestra before. How different does it feel when accompanied with a full ensemble as oppose to just a piano?

The timbre of wind instruments are very different from the piano, so in itself, the sound and effects are already very different. The instrumentation is bigger in a wind orchestra, so it is harder to project a solo voice. But singing with a piano could make the voice feel more “naked” and exposed, and that could be both a good and a bad thing, depending on the intention of the composer.

Tse (left) as Chloé in Offenbach’s Daphnis et Chloé

There is a stigma with opera that it is only for those who have been trained to appreciate it. Do you agree and how do you feel about it?

No. Opera can be fun and entertaining to people who aren’t trained too. I believe it could be the long duration or the nature of some operas that people find boring or hard to appreciate. The foreign languages used are also barriers to the audience. But as long as there are subtitles and good direction, the story can be delivered well too. I’ve had non-musician friends telling me, to their own surprise, that they enjoyed watching opera singing in a recent comic operetta that I performed in.

Whose works are your favourite to sing?

That’s a tough one. There are many works that I like, but are written by different composers. If I have to name a few, they would be Bellini, Debussy, Reynaldo Hahn, Roger Quilter, and Puccini.

Who are some of your favourite classical singers?

Anna Netrebko and Rolando Villazon are my favourite soprano and tenor because of the clarity, brightness and lyric quality of their voices.

What are some key character traits you feel is essential to succeed in classical music, in Singapore in particular?

Talent, hard work, perseverance and guidance from the right people in the right direction.

What are your aspirations for yourself and the classical music industry in Singapore?

I hope to become one of the best Singaporean classical singers and make my country proud. I really hope that the classical music scene in Singapore expands and develops, and be recognized for our performing arts industry as well.

Review: Pentatonix enchants at Thai debut

Last week, the enthusiast in me took a flight to Bangkok for the sole purpose of catching Pentatonix’s World Tour at the GMM Live House at Central World.

PTX featuring Kevin Olusola on cello

Silhouettes of the quintet were casted on a large screen on stage as they opened with Cracked. Pentatonix, champions of the third season of American reality TV show The Sing-Off, came on after opening acts OZMO and Fellow Fellow. The team consists of vocals Kirstin Maldonado, Mitch Grassi, Scott Hoying, Avi Kaplan and vocal percussion Kevin Olusola. Their opening number was met with a thunderous welcome from the crowd that filled close to 90 percent of the mosh-pit-only performance venue. Attention throughout the night was drawn to Pentatonix’s vocal prowess and choreography due to the absence of backing instruments and backup dancers.

The microphones and speakers were a major letdown from the outset, compromising clarity all-around with Kaplan and Olusola in particular. This mishap was made distinct in the layering section in Cheerleader. However, the arrangements that were altered to suit the live performance, coupled with high proficiency in vocal techniques, gave the songs a fresh vibe and an element of surprise to those exceptionally familiar with their recordings. I particularly enjoyed the baroque introduction to Aha! and Olusola’s futuristic transition into Daft Punk. The performance was aided with prompt visuals flashed on a screen on stage, and flamboyant lighting which occasionally went out of sync.

Lights in a myriad of colours

Clad in coordinated monochrome, Pentatonix performed some exclusive covers of popular hits on top of originals from their eponymous album. The five sat on a small flight of stairs on stage as they gave a relaxed and chilled rendition of Justin Bieber’s Love Yourself which transitioned abruptly yet seamlessly into Where Are You Now. They also featured Grassi’s voice, which was a clear favourite amongst the Thai, in Twenty One Pilot’s Ride.
The members took turns filling up time between songs with short interactions with the audience and an abundance of “thank you for coming” and “I love you”.

Photo taken from PTX Facebook Page

The Grammy-winning a cappella group from Arlington, Texas has enjoyed a line-up of achievements from “representing Canada” in Pitch Perfect 2 to performing a viral Star Wars Tribute at the 2015 American Music Awards. These feats did not take away their humbleness as Hoying thanked the crowd with “its really heartwarming to know that people here know our music” at their Thai debut. Their 1.5 hour set was concluded with encores Light in the Hallway and Sing.

Photo taken from PTX Facebook Page

Pentatonix is currently three-quarters into their 2016 World Tour. A little fatigue seems inevitable and was apparent at certain points in Hoying’s voice. Nevertheless, the group delivered an immensely enjoyable and high-energy performance. Having followed them since The Sing-Off, it is fascinating to see Pentatonix burgeon into a world-class act and taking the international stage.

Review: Musings of an Artiste by Kris Foundation featuring Khoo Hui Ling

I was unfortunate to have hopped onto an Uber that costed me Khoo Hui Ling’s performance of Sheep May Safely Graze on top of the promotional ride. That aside, here is the rest of the piano recital reviewed. The event was an intimate affair with approximately two thirds of the seats filled at the Esplanade Recital Studio. In attendance was Khoo’s patron, Kris Tan, founder of the Kris Foundation.

Khoo started Schubert’s Sonata in B-flat Major, D. 960, with firm playing and clear phrasing of the melodic line which was not lost in the dense chords in the opening. Appropriate breathers were observed after each rumbling in the left-hand bass. Khoo’s arpeggios were executed with much grace, almost evoking a temporal ascend into higher ground. Even in minor, the melody remained strong yet sombre and pensive.

Khoo is a meticulous musician and its proven in the second movement. She approached foreign chords with vigilance, ensuring not to take the ear by too much of a surprise. Moments of stillness was in place in preparation for ventures into different keys explored by Schubert. In comparison to her not-too-heavy playing in prior movements, the third was even lighter with good balance in both bands. Khoo’s distinct articulation was also much appreciated through to the end of the sonata.

Dumka, Op. 59, written by Tchaikovsky, is said to express the cold and harsh winters experienced in the Russia. Khoo paced well the extent of her expression through the several moods in the piece. She kept a stable pulse despite fast changing melodic rhythms. Joy was exuded in the short dance section with careful execution of loud chords.

Oriental setup with flowers in a corner

8 memories for Watercolour, Op. 01, was a highlight in Khoo’s doctoral thesis. Contributing to the performance were informative documentaries, addressing both the music and paintings, that preceded the playing of the movements. The stillness and serenity in the Chinese music of Tan Dun was displayed with the calmness in Khoo’s body language and sufficient use of pedal. Notes of the highly pentatonic melodies were crisp, though the excitement overshadowed the leading line in Staccato Beans a little.

Bolcom’s The Serpent’s Kiss, saw Khoo emoting the most visually with quirky body movements and exaggerated facial expressions. The melody which grew from the bottom range up progressed fluidly, depicting a snake crawling up and around Adam/Eve. Her scaly passages were made seductive with smooth and gentle strokes on the keys and intricate pedalling. Features of this piece included the effects of stomping, tapping of the piano and clicking of the tongue by the performer. Khoo executed these with accents and dynamics in line with the music. It was a thoroughly enjoyable performance which Khoo clearly enjoyed performing as well.

Khoo made the recital chummy with her awkward yet genuine introduction to the pieces. She is a refined musician worth looking forward to more from.

Going Gaga or Cuckoo

Lady Gaga is no unfamiliar name. The dance-pop singer of ‘Poker Face’ and ‘Bad Romance’ broke into the industry with hits that got us raving. Not only did she empower the minorities with her music, the meat don-er turned heads and inspired many with her quirky and eccentric looks on the red carpet.

Lady Gaga had us convinced of her obsession with popularity. How blatant is she with The Fame (2008) and The Fame Monster (2009), let alone Applause, a tribute to fame. She wants it. She wants it fast.

Gaga was one of the few icons who opened up our minds to accept fireworks bursting out of Katy Perry’s jiggles, and Nicki Minaj’s outrageous “buns, hun”. Her propagation of liberalism had the world on its toes, reacting instantaneously to the coming out of personalities such as Ellen Page, Tom Daley and Connor Franta, just to name a few.

Pew pew pew!

Some people want fame for the sake of having it. But recently taking a turn in music, many questioned Gaga’s motive with fame. Being a smart marketer, Gaga seized every opportunity of an audience to leave trails of her artistic nuances, right from the start when she released Just Dance. At her peak, the singer had a grand plan; she wanted to give birth to her artistic preferences during her Fame Monster era. Why did you think she slid out of a vagina (one of her set pieces) during her Monster Ball Tour? However, Artpop was too ideal, in her vision, for the public to digest. By attempting to infuse art back into pop (reverse Warholian), she may have indirectly reversed her fame.

Released in 2013, Artpop is likened to a premature baby. The era of dance-pop remains current with the rise of Calvin Harris and David Guetta. Gaga contributed an extensive bit to the beats that got crowds raving, but Applause just didn’t make the cut. Then came Cheek to Cheek, a duo album with legend Tony Bennett, which had people wondering who actually benefitted from the collaboration. I may not be convinced of this genre existing in her blood. Are you?

“What’s going on?” is my question to the producers of the 87th Academy Awards the moment Lady Gaga was on stage. One who had us grooving to ‘Just Dance’ was going to do a medley from a Broadway musical? Given her popularity, the performance was definitely going to generate buzz regardless of the quality of the performance. And it did.

She might have been a promoter of classical musical theatre and jazz all along and is only using this medium of popular culture to put out what she really feel is art. She is a free artiste. Don’t even start on the Warhol and nudity.

Was this arrangement of her Oscars performance the icing on her cake of musical development? Intentional, it was. She awed us, once again. This time, not with her antiques but her vocal talent. In fact, she casted her net to the critics of musical theatre on top of her existing audience. Stephen Sondheim might have been displeased, but Julie Andrews thanked her by name. Even Meryl Streep gave her a standing ovation.

Now, should we be surprised at her delivery? I say yes. Some claim that with her accolades, it should be deduced that she should be capable of anything. Gaga may have demonstrated versatility with the variation of categories in which she has won Grammys, but she has not done a musical number publicly prior to Hollywood’s biggest night. Heck, I will be surprised when I hear my favourite artistes perform songs from their album live because there could be different interpretations of the same material. All the more I would be intrigued when one does something out of their usual artistic boundary. It may be 2015, a lot has been done, a lot has been seen and yet, we continually seek new ideas and revolutions.

Of course, any successful performance is not without effort and hard work. Lady Gaga’s dedication shone through her voice as she puts behind her attention-seeking wardrobe and theatrics.

In hindsight, Lady Gaga is after all, an award-winning drop-out of NYU’s musical theatre faculty. While she’s still hanging in our minds, shall we just talk about her dishwashing gloves? Maybe these would help polish her throne for her to sit on top, again.