"Prologue"

Last night, I figured out the synth bass part in "Prologue" from Time, and I noticed something interesting about it.  I might have it in the wrong octave, but it's something like:

A section of this sounded familiar to me, and I discovered that if this part is transposed up a whole step (to D major)

measures 5 to 8 (which are played at about the same time the vocals start, at ~0:40) are exactly the same as the first five measures of the bass part from Pachelbel's canon:

I don't know if this was intentional or just a coincidence, but it is quite a similarity.

"Telephone Line"

I was thinking about "Telephone Line" yester-day (because I'd listened to From out of Nowhere for the first time the day before, and "Telephone Line" is referenced in "Time of Our Life"), and I realized a small thing.

The last syllable of "ev'rything" in the line "I'd tell you ev'rything" is sung with a glissando (as a whole, the word is sung to the notes E F# E~C#), musically giving a sense of breadth.

"Twilight"

This morning I was thinking about "Twilight," and I discovered a small feature in the lines "It's either real, or it's a dream / There's nothing that is in between."  It's sung to this melody:

Musically, this portrays that "nothing... in between" because it's a conjunct melody:  it goes up and down according to the steps of the scale and doesn't skip over any notes.  Disregarding accidentals, there are no notes "in between" these.

"Night in the City"

I was thinking about "Night in the City" this morning, and I realized that there are two features that musically emphasize the "higher" in this section:

747 just left from gate eleven
And there's no turnin' 'round
'Cause it's just leavin' the ground
And getting higher

"Higher" is sung to A notes, but then a second vocal part echoes it at a higher pitch (C notes).  Then there's an ascending bass phrase: A C E A'.