The copyright lawsuit surrounding Katy Perry’s hit “Dark Horse” has sparked considerable debate, particularly around the question of musical similarity. At the heart of the matter is the claim that “Dark Horse” infringes on the copyright of “Joyful Noise.” While legal proceedings often involve intricate and sometimes convoluted arguments, a principle known as Occam’s Razor suggests a different approach: the simplest explanation is often the best.
Before diving into a more streamlined analysis, let’s revisit the two tracks in question. Take a listen to both “Dark Horse” and “Joyful Noise” to familiarize yourself with the melodies and rhythmic patterns that are under scrutiny.
[Image of audio players for Dark Horse and Joyful Noise, if available in original article or similar representation. If not, consider using a placeholder image related to music copyright or lawsuits.]
The lawsuit hinges on perceived similarities, with the plaintiffs’ expert pointing to “5 or 6 points of similarity.” However, this argument can be misleading. As the original expert for Perry noted, drawing parallels to simple melodies like “Mary Had A Little Lamb” or “Merrily We Roll Along” highlights how basic musical elements can appear in various songs without implying plagiarism. While these comparisons might be technically valid, they may not offer the most direct and insightful explanation for the specific similarities between “Dark Horse” and “Joyful Noise.”
Occam’s Razor and the “Dark Horse Song” Synth
Instead of getting lost in complex musical theory or broad comparisons, applying Occam’s Razor leads to a more straightforward understanding. It’s more plausible that the similarities arise from a simpler creative process rooted in musical inspiration and common production techniques, rather than deliberate copying.
Let’s examine the core melodic idea within “Dark Horse.” The chorus features a distinctive melody:
[Image of musical notation or waveform representing the “Dark Horse” chorus melody.]
This melody is then followed by the recognizable, slightly eerie vocoder phrase, “There’s no turning back… tonk tonk tonk tonk.” It’s highly probable that this very melody served as the foundational element for the instrumental riff that permeates “Dark Horse.” This riff appears prominently in the song’s intro and as a recurring accompaniment throughout the track. It’s built upon a simple four-note sequence: Db, C, Bb, and F.
[Image of musical notation or waveform representing the four-note sequence (Db, C, Bb, F) used in the Dark Horse riff.]
The “Moments In Love” Influence
Now, consider the sonic texture and rhythmic feel of the “Dark Horse” synth riff. It bears a striking resemblance to another highly influential piece of music: “Moments In Love” by Art of Noise. “Moments In Love” is renowned for its breathy synthesizer melody and its use of pulsing quarter notes. According to WhoSampled.com, this iconic sound has been sampled in countless songs, making it a far more likely source of inspiration for the “Dark Horse” synth sound.
The “Dark Horse” producers likely drew inspiration from the “Moments In Love” sound and applied the four-note sequence (Db, C, Bb, F) – derived from their own chorus melody – to create a “Moments In Love”-style pulsing synth riff. This riff, the very element at the center of the copyright lawsuit, sounds like this:
[Image of musical notation or waveform representing the “Dark Horse” synth riff, highlighting its similarity to “Moments in Love”.]
And visually, it can be represented like this, showcasing the repeating four notes:
[Image of musical notation visually representing the repeating four notes in the Dark Horse synth riff.]
To understand the sonic connection, listening to “Moments In Love” is crucial:
[Image of audio player for Moments In Love by Art of Noise.]
The synth sound in “Dark Horse,” coupled with the rhythmic device of repeating quarter notes, clearly echoes “Moments In Love,” not “Joyful Noise.” The historical significance and widespread influence of “Moments In Love” as a sound and production technique make it a much more probable source of inspiration.
Interestingly, “Joyful Noise” also utilizes a similar compositional approach. Its central ostinato is built from a different four-note sequence, but these notes are, notably, derived from its own chorus melody. This suggests a common songwriting technique – developing instrumental motifs from core melodic ideas – rather than one song copying another.
Conclusion: Simplicity and Songwriting Logic
In conclusion, the synth part in “Dark Horse” is most likely the song’s own chorus melody, transformed into an instrumental riff and sonically flavored by the iconic sound of “Moments In Love.” The “5 or 6 points of similarity” become less significant when viewed through this lens, and comparisons to nursery rhymes become irrelevant.
The simplest explanation, guided by Occam’s Razor, points towards a logical and organic songwriting process. “Dark Horse” likely drew inspiration from established musical sounds and techniques, incorporating elements from its own core melody, rather than engaging in direct plagiarism of “Joyful Noise.” This more straightforward analysis offers a compelling alternative to the more elaborate arguments presented in the courtroom, and arguably, a more musically informed one.
