I'll Remember - Composition

Composition

According to author Rikky Rooksby, the song is written in the style of Album-oriented rock (AOR) by bands like Boston or Foreigner. It is slowed down from the tempo of rock songs and utilizes a steadily reverberating synth keyboard to bring on the effect of a heartbeat. "I'll Remember" has characteristics of late Seventies song apart from the arrangement and the low bass. Madonna sings in a low-key voice which is almost overshadowed by the synth arrangement. The song starts with a C major chord sequence and is used on the flattened seventh key of the sequence. But the actual key of the song is D major. It is set in a time signature of common time with a moderate tempo of 120 beats per minute. Madonna's voice spans from F♯3 to G4. A much stronger arrangement of drums are used in the second verse. The chorus uses the chord sequence of D–G–Bm–A while the first two lines of each verse uses the chord progression of D–Bm–A–Bm and G–D–G–A. During the intermediate line "I learned to let go of the illusion that we can possess", the structure changes to D–Bm–G–D–A–G–A. Backing vocals are used on the later choruses for support with the strings, cascading down to a minor arrangement before the third one. The song ends with fading out and devoid of any musical climax. Lyrically the song talks about Madonna looking back on a good love affair.

Read more about this topic:  I'll Remember

Famous quotes containing the word composition:

    Vices enter into the composition of virtues as poisons into the composition of certain medicines. Prudence and common sense mix them together, and make excellent use of them against the misfortunes that attend human life.
    François, Duc De La Rochefoucauld (1613–1680)

    Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.
    James Boswell (1740–1795)

    Every thing in his composition was little; and he had all the weaknesses of a little mind, without any of the virtues, or even the vices, of a great one.
    Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)