"The Fall of the House of Usher: I. Prelude"

Part of the narration at the beginning of "The Fall of the House of Usher: I. Prelude" is "the comprehension of sweet sound is our most indefinite conception."  The phrase "sweet sound" alliterates, and in a way, this euphony matches the meaning.

"The Cask of Amontillado"

After the line "Part of you dies each brick I lay" in "The Cask of Amontillado," the bass plays a phrase that represents the lyric in a way.  The notes are all distinct pitches (F G Ab Bb), giving a sense of the individuality of "each," and the phrase ascends, illustrating the increasing height of the courses of brick that the narrator is laying.  Since the ascent is diatonic, with the notes following each other in the scale, there's even a specific sense of each brick being placed upon the previous one.

"The Raven"

Because yester-day was the fiftieth anniversary of the release of Tales of Mystery and Imagination, I listened to the album again, and I noticed a few small features.

In the verses of "The Raven," the note values increase in the middle and at the end, corresponding to the third and sixth lines of the lyrics (according to how they're formatted on the Alan Parsons Project website) but to the second and fourth lines of this notation:

These longer values musically represent the duration of "for evermore" in the lines "That I shall hear for evermore" and "And I must hear for evermore" in the second and third verses, respectively, and in the earnestness of the request in the line "No matter how much I implore" in the third.

"La Sagrada Familia"

I listened to Gaudí this morning because to-day marks the 100th anniversary of Gaudí's death.  I noticed the parallelism in the line "The war is won; the battle's over" in "La Sagrada Familia" and realized that this device is fitting for the song's theme (a basilica) since some sections of the Bible have a similar structure:  for example, Proverbs 16:18:  "Pride goes before destruction, and a haughty spirit before a fall."