BAD "CADENCE"

Since Mother Monster is preparing for the BTWBall Oceania legs, I would like to introduce something that is relative to Mother Monster, yet in a deep and detailed domain.

Before I'm going to discuss this topic, I would like to first introduce the concepts of music composition, primarily the concept of "Cadence". To be concise and simple, Cadence is the harmonic chord progressions near the end of each phrase of a verse or a chorus. In general, Cadences are divided into several categories, Authentic, Half, Plague, and Deceptive. Examples are as follows...

Authentic Cadence: (Actual chord / Harmonic notation)

                        (D/IV)                (E/V) - - - - - - (A/I)             Where V -> I is an Authentic Cadence (Major key)

Where we can both fall far in lo-ve    I'm on the edge...

                                          (E7/V7) - - - - - - - - - - - - - -  (Am/i)            Where V7 -> I is an Authentic Cadence (Minor key)

...lover's revenge   You and me could write a bad ro-man-ce

Deceptive Cadence:

(C/I)                       (G/V) - - - - - - - - (Am/vi)            Where V -> vi is a Deceptive Cadence (Minor key)

Live passionately to-night    I'm gonna marry the dark

(Fm/iv)        (Cm/i)      [Eb:]      (Bb/V)[Cm:] - (Ab/VI)      Where V[Eb] -> VI[Cm] is a Deceptive Cadence (Between Relative keys)

A king with no crown, king with no crown   I'm just a holy fool...

(Bm/i)         (G/VI [D:IV])       (D/I)                            (A/V) - - - - - - -  (Bm/vi)    Where V -> vi is a Deceptive Cadence (Major key)

Don't wanna kiss, don't wanna touch  Just smoke one cigarette and hu-sh

Though these are all popular cadences, the most frequently used cadences in Mother Monster songs, is the Plauge Cadance. Quoting Wikipedia, 

Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. 

To be honest, I am not quite sure if the so-called "Amen Cadences" are in relationship to some of Mother Monster's compositions that bear with a religious background. Examples are as follow again...

Plague Cadence:

(Ab/VI)(Fm/iv) - - - - - - - - - (Cm/i)    (Bb/vii)        Where iv -> i is a Plague Cadence (Minor key)

Oh Oh, Oh Oh   I'm love with Judas, J-u-das

           (F#m/vi)                        (D/IV) - - - - - - -  (A/I)             Where IV -> I is a Plague Cadence (Major key)

And I'm hanging on a moment of truth   I'm on the edge of glory

    (Eb/V)                     (Fm/vi)              (Db/IV) - - - (Ab/I)            Where IV -> I is a Plague Cadence (Major key)

I'll follow you until you love me   Pa-pa, Paparazzi    Baby...

(A/VI)                     (F#m/iv) - - - - -  (C#m/i)            Where iv -> i is a Plague Cadence (Minor key)

         What's   going   on   on   the   fl-oor

(G#m/i)          [B:]              (E/IV) - - - - - - - - - - - -  (B/I)          Where IV -> I is a Plague Cadence (Major key)
   Can't read my, can't read my   No he can't read my poker face  

(E/I)(B/V)    (A/IV) - - - - - - - - - - - - - - -  (E/I)             Where IV -> I is a Plague Cadence (Major key)

Eh - Eh, Eh - Eh, There's nothing else I can say

Last example, the double IV -> I progression

                 (F#/I)                 [B:]                      (E/IV) - - - -
I’m beau-ti-ful in my way     Cause God makes no mistakes
- - - - - - -  (B/I) - - - - [F#:] - - - - - (F#/I)
I’m on the right track baby    I was born this way 

In the last example, the (E/IV) chord act as the sub-dominant chord of the relative key of B major, which is related to F# major. Therefore, in the key of B, (E/IV) -> (B/I) is a Plague Cadence itself. Along the composition, in the key of F#, (B/I) from B major would be considered as (B/IV) in F# major. Therefore, the (B/I)[B] -> (F#/I)[F#] can be written as (B/IV) -> (F#/I), which is also another Plague Cadence.

Coincidence? or just a composing technique? Despite anything, Plague cadences are generally with a "stronger" contrast between the chords in comparison to Authentic cadences. If we are speaking with the "Tense" of resolved-ness, then both Plague and Authentic cadences are well resolved at the end of the phrases.

However, if we are speaking on the "Tense" of the harmonic impact, related to its chordal modification intensity (the intensity of the subjective feeling of the audience that it's resolving, or the degree of unexpectedness during the harmonic resolve), Plague cadences are absolutely higher than Authentic cadences. This is because we, as audiences, expect Authentic cadence at the end of a phrase, which is the most case for most compositions from Baroque music to Contemporary music.

To an extent, Plague cadences are classified as amen (or church) cadences because of the unexpected nature in existence. In which, a degree of interest will develop and hence it creates a substantial amount of awe. Ultimately, the audience will be able to elaborate the awe in their experience and hence generate a strong feeling towards the composition itself. Therefore, it is, with purpose that, Mother Monster's compositions are suppose to relate to awe feelings, in order to have them stay in every Lil Monster's heart? Maybe, Maybe not. Regardless, I, as a Lil Monster, would always welcome this awe feeling because other compositions are incapable of providing it to me.

If the above relationship is valid (which must go through many scientific trials. If not, case studies should be conducted to validate the above), then, nothing to say much, Mother Monster will always be able to catch every Lil Monster's emotion by having emotional chrodal progressions, retro music arrangements, along with questionable, yet brilliant poetry.