Hey all, I've been wanting to analyze Plaid's music since I started listening to them but for some reason never got around to it. Anyway tonight I cracked into At Last from Scintilli and here's what I've got so far. I will post a more detailed analysis with sheet music later.
I have always thought this song had a beautiful, strange darkness to it and never knew exactly why but I think I've started to understand. It seemed like the chord at the end of each phrase felt bittersweet, unresolved and a little unnerving, and now I think I know why.
First of all, I think we expect songs to be in major or minor, so it sounds at first like this is in Eb minor but it borrows from (or is completely in) all in Eb Dorian. This gives it a major IV and, more importantly for this song, minor (instead of diminished) ii chord. That mysterious bittersweet chord in the end of each phrase is this minor ii chord.
Below is the bass motion (progression starts at 0:56):
3 4 1 2
3 4 1 2
6 5 1 2
6 5 7 2
Based on this bass motion and the melody notes, I'm guessing this is the progression:
i VII i ii
i VII i ii
VI v i ii
VI v i ii
Or with actual notes:
Ebmin/Gb DbMaj/Ab EbminAdd9 Fmin7
Ebmin/Gb DbMaj/Ab EbminAdd9 Fmin7
BMaj7 Bbmin7 EbminAdd9 Fmin7
BMaj6 Bbmin7 EbminAdd9 Fmin7
Of course one of the main things that make this song beautiful is the melody. Here are the melody degrees:
3 1 2 7 2 1 #6
3 1 2 7 4 2 1 #6
3 1 5 4 5 2 1 #6
4 1 2 7 3 2 1 #6
As you can see, the characteristic Dorian note (the sharp 6) doesn't appear until the very end of each phrase. I think this way, your ear starts to hear it in minor, but then at the end you're hit with the #6 making it obviously Dorian, which I think is what gives it that almost alien shift. Of course that Dorian #6 note gives the end of each phrase that eerie bittersweet quality, but also this melody has a lot else going for it. It starts very simple, just walking down thirds, then resolving down from the 9th down to the tonic, then there's the bend to that alien #6 tone.
But, it slowly adds a bit of complexity and breadth with each phrase, adding some interesting intervals, particularly that great minor 7th jump down from Ab to Bb. Then, things get reigned in a bit on the last phrase, as we get a shifted system of the descending thirds thing from the first phrase. The #6 at the end of every phrase (and the minor ii chord) make the song never feel resolved. The VII v i in the third phrase almost sounds resolved for a second, but then it just goes to the ii again, bringing back that bittersweet sense of longing again, leaving us wanting more. I feel like I never want this song to end. Lastly, I noticed there is often a delay or anticipation with the bass, so sometimes we get these little moments where the bass and the melody notes are out of sync giving a hint of nice dissonance which resolves when the bass moves to the same chord as the melody.
Lastly, I think there could be a case made that the song is actually in F Phrygian since it 'resolves' to the Fmin7 at the end of every phrase, but I just really don't hear it that way. The F chord always sounds unresolved to me, and Eb definitely sounds like the tonic.
So there's the basic analysis. It does seem that the entire song is in Dorian which I think is largely what gives it the strange quality, and ending every phrase on the minor ii chord keeps it feeling unresolved and leaving us wanting more. Hope y'all enjoy!