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This piece is written in the key of F MAJOR .Note:
Boxed text written below Roman Numerals indicates Harmonic Function (same as previous post).
Non-harmonic tones representation:
AP = Appogiatura
NN = Neighbouring Note
PT = Passing Tone
ET = Escape Tone
This is an interesting extract with many uses of non-harmonic tones. While doing the analysis, some of the notes can be both treated as NN/PT depending on the proceeding note. For example m.8-m.9, the semiquaver note E can be treated as NN if we are looking at F as the proceeding note, and it may be treated as PN if we are looking at D as the proceeding note.
Something very similar to ET is observed at m.6. Notice that I labelled the note F as "ET". This note can only be qualified as an ET if the following note is a 4th-line D instead of the written C.
The last quaver of m.11 may be qualified as PT/ET depending on the proceeding note. The quaver-D is a PT if the proceeding note is the written E, and it can be called an ET if the following note is the written Bb on m.12.
Roman Numerals are pretty direct in this case, not much of an inversion evident in the extract. I would like to focus the attention on m.12 though:
I write this chord vii as, vii half-dim. 7-5-4-. (I wonder if it is visible enough on the score?). This is an unresolved chord and therefore I just included the dashes beside the numerals, without connecting to any numerals (like we usually expect).
Harmonic function of this extract is straight forward also. I was just wondering the chord V at m.10 - to indicate the harmonic function explicitly or not? I've decided to leave it as I thought it sounded like part of the dominant function at m.8, therefore not necessary to have an indication.
Let me know what you think, and please tell me if I've made any errors anywhere.
Regards,
Benji
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4 comments:
Hi Benji,
I will wait for someone else to comment on your analysis. Meantime, just wish to remind you of the difference between identifying types of ornament (e.g. appoggiatura, escape-tone, etc) and interpreting the type of non-harmonic tones (e.g. complete/incomplete neighbour notes).
Also, you seem to have some harmonic-function indications missing in the last system.
Hi Benji,
I would think of the iii as still a tonic expansion, only at the Bb maj harmony does it change to a PD function.
Hmmmm I think the structure of this song is interesting - it's just supposed to be a period with 4+4 antecedent-consequent phrases ending at b.9, but he extends it into another 4 bar melody that leads up to your chorus climax.
I view it in two ways:
1) b.9 appears as an expanded tonic expansion (since it's IV, a feeling of a plagal cadence coming in) that drags on until your chorus;
2)b.9 is an expanded dominant function of some sort (the progression doesn't make functional sense?!) The dim7 harmony you have on b.12 does resolve in the melody though, to I, so maybe this interpretation is possible.
However, I still quite favour the first reading too, because when i played it on my guitar it really felt like I was going into a plagal cadence.
Hmmm let's let Dr Chong work this out! :P
Cheerios
Ben
Great response, ben (lim yi)!
I would still like Benji to respond. For now, I would just say that ben's hearing of the plagal function at b. 9 is right but how do we reconcile this with what follows?
hmm...since it's "Forever in Love", could he be trying to prolong the entry of the chorus by using bars 7-12 as a series of 2-bar-long imperfect cadences (noting, of course, that he has used a dominant substitute in b.12)? :P
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