[doublewuzzy]

Similar to the key changes thread - I had noticed in the past that Joanna frequently uses certain chord progressions, although I have forgotten all the examples. The first time I noticed it was while transcribing Sawdust & Diamonds - the middle "Longface" section uses the same chord progression as the "oh my love" portions from Bridges & Balloons.

More recently, we all know that Does Not Suffice is a refrain of the middle sections of In California, but did you know it's also the same chord progression as Baby Birch (I - IV - vi - IV)? And all three are in D major...

...but I'm not calling her a one-trick pony! These are just JNew signatures, like the tango rhythm she brought about with Book of Right-On and "En Gallop" that's in MANY songs in HOOM. Kind of like how Debussy sounds like Debussy and Copland sounds like Copland... if she ever moves into wordless orchestral works, it'll be easy to spot a Newsom... : )

[shani]

i know what you're talking about. I've noticed this signature patterns myself, especially with the bass lines
and some of the polyrhytmic passages. I think it's easy for musicians to geek out on her music. Its an added bonus to the overall package.

[N. Senada]

It's indication of how she perceives beauty, and that's cool as shit when it starts to become noticeable. Very interesting patterns to come. I'm very excited.