Sonic Youth’s “Tremens” from “SYR1: Anagrama”
Sonic Youth’s 1997 EP SYR1: Anagrama is a particularly interesting example of improvisation within the experimental rock genre. Released under the band’s own label, the collection of works on this EP display guided improvisation in different musical atmospheres. Utilizing basic melodic forms, groove patterns, and thematic development, Sonic Youth created a sense of polystylism where more sophisticated forms and textures are established through improvisation while staying connected to the timbral and textural characteristics of alternative rock and post-punk of the 1990s.
The short piece Tremens (“Trembling”) displays a planned improvisation where a basic melody and groove are developed over the course of three minutes. The piece features two primary melodies that are used throughout while the underlying harmonic atmospheres stay anchored over a B power chord. This harmonic aspect is interesting because although the piece clearly establishes B as the tonic, it is not clear whether a major or minor tonality is present. The two melodic segments used throughout the piece indicate a major tonality with the inclusion of a D#, but this harmony is often broken in the basic accompaniment. This leads to a harmonic atmosphere which could be seen as a B7 chord with a G in the bass, a G augmented chord with an added 7th and 2nd. The augmented chord and B power chord lie at the structural core of the piece’s harmony and help create an ambiguous harmonic atmosphere that is essentially established by the melodic fragments.
Texturally, the piece features many of the standard timbral combinations seen in Sonic Youth’s music. The melodic segments are played by a reverb-soaked flanged electric guitar while distorted guitars establish the open harmony around a tonal centre of B. Another guitar track creates textural effects that are less related to the harmonic and melodic material in the other parts. The drummer maintains a relatively static, repetitive groove throughout, providing a basic skeleton for the guitars to improvise over.
After the melodic and harmonic atmospheres are clearly established (roughly 1:30 into the piece), the melodic segments are omitted. This offers a sort of B section where a breakdown of the piece’s harmonic material establishes a more free atmosphere. This short section also features more dissonant tones in the harmony (e.g. split thirds over B power chord). The melodic fragments are reintroduced at roughly 2:00, with the more dissonant harmony from the B section surrounding them. Then, to finish the piece, a guitar is cued to play an unrelated rhythmic pattern. This ends the piece as the drums and surrounding parts drop out. And this new rhythmic fragment becomes the bookend of the work. The formal trajectory is similar to a basic ternary form with a short, unrelated coda. This syntax creates an effective outline for the piece’s harmonic and melodic trajectory.
Sonic Youth’s distinct post-punk/alternative timbre is very present in Tremens. This is largely due to the way they use guitar effects over extremely simple melodic fragments and basic harmonic collections, and the way they improvise freely using this material.