"Deep"

The last thing I noticed when I listened to Sur la mer is in "Deep."  Starting at ~3:58, there's a descending synth line spanning almost three octaves to portray the depth mentioned in the repeated lines "Deep / I wanna go deep," which are sung above it.

"Love Is on the Run"

When I listened to Sur la mer, I noticed only one thing about "Love Is on the Run," but in looking at the song again in order to write this post, I noticed something else.

The "on" in the lines "With out your love / I can't go on" (that's how they're formatted in the liner notes) is sung with a melisma (B C B A, I think).  Although negated, there's a sense of continuation because the word is drawn out.

In looking at the song again, I discovered a small point about this section:

Just because its raining here
It doesn't mean the sun isn't shining

Somewhere else for someone
You have loved
But who's not near you anymore

(Again, I followed the formatting of the liner notes, including the erroneous "its" in place of it's.  Later, the reverse error appears: "When your dream has lost it's cause.")

Like "I can't go on," the "-more" of "anymore" is sung with a melisma (A G E), so while this is also negated ("not... anymore"), there's a musical sense of duration.

"Miracle"

An-other thing I noticed when I listened to Sur la mer is that "away" in the recurring line "I can feel that the night is slipping away" in "Miracle" is sung in such a way to demonstrate this "slipping away" musically.  At the end, there's a descending glissando so that the note seems to fade out - or "slip away" - rather than simply end.

"River of Endless Love"

I listened to Sur la mer on Tuesday and noticed a few small things to write about.

Most of the "love"s in the title phrase in "River of Endless Love" are sung with a melisma (C A).  Because the word is drawn out, there's something of a musical sense of this infinite quality.

"Peak Hour"

Earlier this week, I figured out the mellotron organ part from ~3:17 to ~3:51 in "Peak Hour."  Back in January, I wrote about how the contrast between this section (with a slower tempo and sparse instrumentation) and the rest of the song illustrates the difference between the relaxed narrator and the rushing people.  This morning, after having played the part numerous times over the course of a few days just for my own enjoyment, I realized that this relaxed attitude is present even in the music of just this small section.  The note values progressively lengthen (from eighth notes to half notes to whole notes) to illustrate that "I've got time."

I'm a bit unsure of some specific voicings, but I think the part is something like:

(I adjusted the split point between the two staves so the notation looks a bit more balanced.)