Hello everyone,
here are some points of clarification and some additional insights (thank you Dr. Chong for your comments!):
1. The leading-tone chords may also be understood as applied chords in the intro. Each of these applied chords is applied to the subsequent note to tonicise it.
2. Also in the intro, contrary to what was posted earlier, there may ,actually, be no antecedent-consequent phrases, but rather, it could be a case of 3 sequential phrases of 2 bars each, stemming from the original (first 2 bars).
3. In the verse, since there are no antecedent-consequent phrases, it cannot be a symmetrical period.
4. My point on the 'Lament Bass' should be thought of as a descending, walking bass instead, because of the major tonality.
5. The form of the song should be Verse- Chorus form, as opposed to rondo form as stated previously.
Additional points:
1. The double-note idea in the verse sees it being played out differently in the chorus. Now, in the chorus, looking at the piano part of each phrase: In the first phrase, the first note is a C, the first note of the second phrase is an A; 3rd: D and 4th: G. Singling out the alternate notes, we have C--> D (1st & 3rd phrase), and A-->G (2nd & 4th phrase). We can see another unifying element here, but this time it is played out on the phrase level.
2. Because of the pervasive occurrences of anticipation in the verses, as well as the syncopated rhythms of the accompaniment, the rhythmic and hypermetric handling is displaced and we feel a sense of conflict. This results in rhythmic tension throughout the song.
This concludes my blog analysis!
Lynette,
ReplyDeleteI'm happy to see your level of engagement with the music (and analysis). Some final comments from me:
i. You had correctly recognized the tonicization in the first place, I was getting you to realize that they involve V6/5 instead of viio.
ii. As for the phrase structure, the verse's 8+8 is a pair of repeating phrases leading to the 8 of the chorus, but notice that the verse-chorus overall imbalance? It is not till the last chorus where its 8-bar is repeated that we finally have (8+8+8+8), the outro fade out does not upset this balance.
iii. To clarify, phrase symmetries concern only with phrase lengths. In this case, we do have phrase symmetries within the verse (8+8), for the chorus, the 8-bar phrase itself is also symmetrical in that it is actually a 2+2+4 sentence structure.
iv. A walking bass is typically in moving crotchets, which is not the case here.
v. motives (first of all, note that you have entirely ignored the key signature!!). The unifying motive in the verse accomp is the double-note note, in the chorus, it becomes a descending line, C -> F, Ab -> Db, Db' -> Db, following the 2+2+4 structure. Note how the vocal line closely parallels this?
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