Each choir has a definite, distinct musical character of its own, showing the instruments and styles of different cultures as well as commenting on the specific complaints within the choir. Some common characteristics can still be found, however, such as the use of separating male and female voices, spoken elements and contrasting moods. It also seems that accommodating for the variety and amount of complaints has caused even the simpler, more regular verse-chorus structures of Birmingham, Copenhagen and Hamburg to be broken up by spoken sections or repeated lines. All songs last between 6:15-9:30, showing the extent to which people like to complain!
Birmingham
Though the monotonous verses in Birmingham's complaint song suggest the participants had weaker musical abilities than in the other choirs, they certainly do reflect the dull nature of complaining. There is not a strong sense of musical direction or contrast compared to most of the other choirs, but the lyrics have been made to rhyme almost throughout the whole song, and similarly to Singapore, there is an inclusion of a rap and some other spoken elements, which breaks up the simple verse-chorus structure. The lyrics have a strong focus on the changed city and its transport, so the song's lack of musical contrast and direction is perhaps an ironic comment on this.
A piano accompanies the choir throughout the song, and its gentle accompaniment figure in the verses adds colour to the monotonous melody.
Chicago
Not only do Chicago use an unconventional structure, they use strong harmonies throughout their song and include percussion as well as piano. It is perhaps the most advanced song of all of the cities.
In section 5, a second line is sung underneath the main melody, which is an augmented repetition of the start of the song, showing unity as well as contrast. There is a wide variety of complaints relating to other people, so the song's constant contrast and juxtaposition of different moods, themes and tempi in the music reflects this. Chicago are the only choir not to include any spoken elements.
Copenhagen
Copenhagen's main accompaniment instrument of choice is the double bass, which introduces the song with a melodic theme from the chorus. The piano introductions for Chicago and Helsinki also play a melodic theme, but from the upcoming verse instead of the chorus. Some simple percussion maintains a beat for the choir, and the ring of a bike bell can be heard intermittently, first sounding after the line 'Christiania bikes fill the whole bicycle lane'.
One of the choir members mimics the sound of a seagull at the complaint about seagulls making noise, and there are often spoken sounds of agreement after the lines in the verses, adding a communal and authentic feel to the song and making up for the lack of harmonies and strength in numbers. The range of the bridge spans a minor third and hangs on an unresolved chord until the start of the next verse, adding weight to their complaint about their government refusing to lift any bans. This is then extended in the section before the last repeats of the chorus, which the choir claps along to, adding to the sense of community.
St. Petersburg
This is the only city that welcomes the audience into the song in the introduction, which extends the communal feel of Copenhagen's song into a wider field of people and reflects their fundamental complaints about humanity, since many people will be able to relate to them. The sombre mood of this introduction is contrasted with an upbeat accordion pattern to lead in to the verse, and this more positive mood is then maintained throughout the rest of the song, despite the negativity of complaining. Perhaps this is to highlight the final line in the chorus: 'Why are we always dissatisfied with something?'. The rap is preceded by whoops, claps and stomps, and incorporates the use of a megaphone, all of which further help to invite the audience in and keep them involved.
There is also frequent use of interaction between the men and women in the choir, such as in verses 4-7 with their very fast-paced lyrics. Though the choir makes no use of vocal harmonies, the hearty, well-rounded melodies still create a sense of musicality within the group.
The sinister, minor organ melody (played on an electric piano) in the introduction and verses to this song is perhaps the most accurate reflection of the negativity of complaining in all the Kalleinen choirs, and it is juxtaposed with the opposite mood in the chorus, which the choir consistently clap along to. Though not fully monotonous, the verses can be likened to the verses in the Birmingham choir. Ghost-like vocal noises are sung underneath verses 4 and 5, adding to the sinister organ sounds, and in between these verses is an extended spoken solo section, which can also be found in Tokyo and Singapore.
The introduction to this song features hummed harmonies in a descending line, anticipating the upcoming melody. Each verse gradually builds up the harmonies towards the chorus, which uses overlapping lines and a contrasting dynamic level and theme for its last line 'it's not fair'. These features, as well as the use of the last chorus line at the end of verse 5, signal a strength of musicality and composition not unlike the Chicago choir. Its use of humming at the start is also similar to the start of Tokyo's song. With the choir being predominantly female, some of them take quite a low alto line to contrast with the higher female voices, and these two groups often alternate, similarly to the male-female interaction in St. Petersburg. One particularly impressive and witty feature of this song is the incorporation of the Nokia ringtone as part of the melody on the line 'ringtones are all annoying', especially considering how it is repeated to emphasise its annoyance!
Singapore
Despite all the problems this choir faced with not being able to perform in public, the song is very upbeat (apart from the calmer contrasting section), with a punchy piano accompaniment and a jazz inflection in the chorus melody. A few harmonies can be found, such as underneath the rap, in the overlapping lines in the contrasting section and most notably in the unaccompanied section about languages just before the final verse. The contrasting section also alternates between male and female voices, again like St. Petersburg and Helsinki. A new key with unresolved chords is played in the piano accompaniment throughout the spoken section, perhaps to signify how people will always find something to complain about, and a key change also features in the last repeat of the chorus - the only use of this cliché!
After the calm, muffled, wordless harmonies in the introduction, the double bass, percussion and eventually the accordion lead in to a more upbeat two-part verse. These two parts are separated between the men and women, who then swap halfway through the verse. These features show particular similarities with St. Petersburg and Helsinki, and the use of a double bass shows a similarity with Copenhagen. Tokyo have the largest spoken section compared to Hamburg and Singapore, which is effectively played like a game of musical statues: the improvised accordion music stops at the ringing of a bell to allow for an unaccompanied spoken solo.
The song ends after an eerie chord is sung, leaving the finality of the last line hanging on something much more uncertain.
