What makes this song sound minor?

[ll00l0l]

This song seems to primarily consist of D major and D Lydian scale notes, except that the bass ostinato alternates (I think) between F#/D and F/D, suggesting a D major/minor mixture. Other than that, we have the treble guitar part going from D major (^3 and ^5) to Bb major (^1 and ^5) with the bass providing the missing note in each. The power chords could suggest a minor 3rd, but I don't see why in this context.
The tritone sonority later in the song sounds ominous and certainly not major. But it wouldn't in all contexts. Curiously, we do have the natural ^3 here (F# going to G#), but it still sounds menacing.
Could it be that the F and Bb in the guitar suggest a D minor mode which, along with the F/D in the bass (^b3/^1), overrides the major-sounding elements for some reason?

[Bobby Timmons]

Cool analysis. It doesn't sound minor to me. Imo, there's a whole continuum of possibilities for how the tonality can sound even though major and minor are the main standard frameworks. Still it doesn't have to be minor even though it sounds kind of dark and menacing.

[ragman1]

This song seems to primarily consist of D major and D Lydian scale notes, except that the bass ostinato alternates (I think) between F#/D and F/D, suggesting a D major/minor mixture. Other than that, we have the treble guitar part going from D major (^3 and ^5) to Bb major (^1 and ^5) with the bass providing the missing note in each. The power chords could suggest a minor 3rd, but I don't see why in this context.
The tritone sonority later in the song sounds ominous and certainly not major. But it wouldn't in all contexts. Curiously, we do have the natural ^3 here (F# going to G#), but it still sounds menacing.
Could it be that the F and Bb in the guitar suggest a D minor mode which, along with the F/D in the bass (^b3/^1), overrides the major-sounding elements for some reason?

Er, I think that's called answering your own question!

[Peter C]

That kind of movement was pretty much cliché (I-VIb) when I played rock back in the day. If you play a Dmaj with a low F#, then move to Bbmaj with a low F, what you've got is the 3rd of one chord and the 5th of the other. If you hear that as maj. to min. movement over the D, that will work just fine harmonically, and I'm pretty sure the composers were not thinking too much about it.

[Christian Miller]

Goooooooldfingerrrrrrrr!!!!

[AllanAllen]

Reminds me of the music in Ravenous

[pingu]

after a very superficial listen

D maj
to Bb maj
the 5th of Bb is F
which is the -3rd of D

so it sounds like
Dmaj to Dmin
—————————
same harmony as ‘licence to kill’
a big favourite tune of mine

and THE BEST bond vocal song ever ! (IMO)
check the drum track
Narada Michael Waldon ….
Killer man machine

[ll00l0l]

Cool analysis. It doesn't sound minor to me. Imo, there's a whole continuum of possibilities for how the tonality can sound even though major and minor are the main standard frameworks. Still it doesn't have to be minor even though it sounds kind of dark and menacing.

Good point - it does sound brooding and dark even though it's not *exactly* a minor sound. Maybe the overall mood and character just kind of creates that illusion.

[cmajor9]

Constantly moving between two (only) loosely related chords/tonalities creates instability and tension. The mumbled, low-level vocal which finally breaks into a scream adds to the brooding feeling

[rpjazzguitar]

That kind of movement was pretty much cliché (I-VIb) when I played rock back in the day. If you play a Dmaj with a low F#, then move to Bbmaj with a low F, what you've got is the 3rd of one chord and the 5th of the other. If you hear that as maj. to min. movement over the D, that will work just fine harmonically, and I'm pretty sure the composers were not thinking too much about it.

A voicing that works for some Bb tonic situations is x55565. That's D G C F A, with the bassist playing a Bb. So it's R (in the bass) 3 13 9 5 ^7. Or, Bbmaj13 (no 11th).
The same chord can be labeled Dm11 (although there's no 9) or Dm4/7 (the Brazilian way) or Dm7sus (probably best for this).

This is my way of agreeing with the post which pointed out the Dmaj to Dmin quality.

[ll00l0l]

after a very superficial listen

D maj
to Bb maj
the 5th of Bb is F
which is the -3rd of D

so it sounds like
Dmaj to Dmin

Plus, Bb is the sixth scale degree of Dm, which probably contributes to the feeling of D minor. - the scale is partially built.