ABSTRACT
In the fi elds of musicology and music theory, there is little agreement on our analytic methodologies for rock music. Th eoretical approaches range from basic letter-name chord labels to detailed Schenkerian analysis1. Regardless of the chosen approach, every analyst ought to be aware of the diffi culties of analyzing popular music using the theoretical systems devised for common-practice tonal music. Th e potential exists in any theoretical system for bias, false judgment, or the ascription of privilege, but when the system was admittedly intended for a diff erent application, the interpretive problems abound. A song such as Tori Amos’s “Crucify,” chosen to represent here an application of my analytic method, introduces aspects of voice leading and harmony not common in the literature addressed by Schenker. I’ll precede examination of the song itself with a general consideration of a central issue it poses, that being the interpretation of modal and tonal languages when used in combination.
