Every year, music theory enthusiasts begin to ask the same question: “what makes it sound like Christmas?”
Vox.com has incurred the wrath of Twitter’s musicologists after posting a video focusing on Mariah Carey’s “All I Want for Christmas Is You” that suggested that iiø7 chords are what make it sound Christmassy. The video begins by stating the research question, “What makes Mariah Carey’s song sound so incredibly Christmassy? Aside from the sleigh bells, of course.” They then proceed to discuss the harmonic content of the song and how the harmonies signify Christmassy-ness.
Vox’s declaration that iiø7 chords sound Christmassy irritated musicologists for many reasons, perhaps best summarized thusly:
Protip: if your argument comes down to a type of chord having magical powers, you're doing it wrong
— Musicology Duck (@MusicologyDuck) December 23, 2016
In the Vox video and in all those reddit posts, and indeed in much of beginner music theory, there is an obsession with finding explanations in the harmonies, specifically, of a song. This is a reflection of the overall bias in music theory: we focus on teaching harmony most of the time. Curiosity about how harmony elicits emotions is natural in this context. It only becomes problematic when this discussion really leads to the exclusion of other music-analytical domains that are more relevant to the track’s signification—namely, timbre!
“What makes Mariah Carey’s song sound so incredibly Christmassy? Aside from the sleigh bells, of course.” This last line in the Vox video is done as a throwaway joke—”haha, gotta have sleigh bells in Christmas songs, obviously!” Well, yes! You do! That is actually what makes it sound Christmassy. I would argue the only thing contributing more to its Christmas sound is the lyrical content and all its allusions to Christmas imagery (stockings, Christmas trees, fireplace, snow). Why focus so much on harmony—which is not different in Christmas music than in comparable pop styles—when we could focus on what really distinguishes this music from other genres?
Do We Know It’s Christmas?
“Do They Know It’s Christmas?” is a charity single by the supergroup Band Aid that was released in December of 1984. It was meant to raise funds for the famine in Ethiopia. This song is also among the worst Christmas songs of all time, not only due to the musical content but for spreading some harmful reductionist representations of Ethiopia. But it’s a Christmas song nonetheless. So what makes it sound so Christmassy?
Harmony-wise, this track is completely unremarkable. The chords of the verse are F–G–C (IV–V–I in C major), in the prechorus, you have Dm–G–C–F (ii–V–I–IV), and in the chorus we’re back to F–G–C (IV–V–I).
I’d contend that, like a lot of Christmas songs (including Mariah Carey’s “All I Want for Christmas is You”), these harmonies don’t sound particularly Christmassy. Instead, Christmas themes are communicated through the lyrics—that is, by repeating the words “Christmas” and “Christmastime” over and over—and also through the heavy use of synthesized tubular bells.
“Do They Know It’s Christmas?” features that grand old synthesizer, the Yamaha DX7. I reached out to Midge Ure, one of the song’s writers of Ultravox fame, on Twitter and he confirmed that the DX7 preset called TUB BELLS is the source of this infamous bells sound.
TUB BELLS analysis
Here is the TUB BELLS sound isolated, playing an octave C3–C4, the same sound that you hear at the very beginning of “Do They Know It’s Christmas?”.
Today I don’t have time to get into all the details of this timbre, but if you’ve never heard what’s so special about bell timbres before, well, now you can. In general, bell timbres are special because the overtones that resonate when you strike a metal bar are totally different than the regular harmonic series that you get from a vibrating string or column of air. Bell timbres do not follow the harmonic series—they are inharmonic instruments.
Here’s another spectrogram image, this time for just a single note, C3. (For info on how to read a spectrogram, click here.)
Since most of you probably don’t immediately know how to translate Hertz into pitch names, I’ve made a transcription in traditional notation of what these partials are.
If you’re familiar with the harmonic series, you can see that that series of notes is quite different. If you’re not familiar with the harmonic series, well, here it is:
The harmonic series has intervals that progressively narrow in a predictable fashion. Each frequency is a multiple of the lowest (fundamental) frequency. But in the harmonic series for TUB BELLS, well, it’s not quite so predictable. Not every partial is a multiple of the fundamental, and the intervals are not progressively narrowing.
But what does it mean?
The Yamaha DX7 was released in 1983, and so the technology was still shiny and new by December of 1984. The synthesizing capabilities of the DX7 were especially renowned for being able to faithfully replicate percussive sounds such as tubular bells, glockenspiel, and the like, much better than other contemporary synthesizers.
So the TUB BELLS sound in “Do They Know It’s Christmas?” is actually carrying a lot of semiotic weight! DX7’s TUB BELLS immediately inform the listener that 1) this is a Christmas song and 2) this is an ’80s Christmas song.
In so many cases, when we’re wondering “what makes it sound ____?” where ____ is Christmas, or metal, or Irish, or whatever, the answer lies not so much in the harmonies, but the timbres. Timbre is probably the most immediate aspect of our musical experience. Why shortchange it in our analyses?