My term project would be an analysis of Johan de Meij's composition for wind orchestra, EXTREME MAKE-OVER (Metamorphoses on a theme by Tchaikovsky).
What attracted me to this fabulous composition was the very clever use of Western orchestration style (or the de Meij's style) fusing it with Tchaikovsky themes (Romantic composer) as well as the Gamelan (Indonesia). As opposed to the sub-title of "Metamorphoses on a theme", there were actually more than one Tchaikovsky themes found in there. Some of the themes were obvious in the foreground; while some were not so obvious in the background; and some were "metamorphised" to the extent that it may be difficult to notice the originial theme. In addition, I was amazed that this extremely technically-advanced music was used for the European Championship as a set piece!
Here are some of my resources for the term project:
1. Programme Notes:
www.4barsrest.com/articles/2005/art472d.asp
2. Johan de Meij's Website:
www.johandemeij.com
3. Original Wind Band Score:
EXTREME MAKE-OVER (Metamorphoses on a theme by Tchaikovsky)
Publisher: Amstel Music
4. Audio CD (16'47"):
"Planet Earth", Performed and Recorded by Banda Sinfonica La Artistica Bunol, conducted by Henrie Adams.
5. Composers on Composing Vol. 2 (Hard-copy book):
http://focus-on-music.com/index.php?main_page=product_info&cPath=13&products_id=122
6. The Five-tone Gamelan Music of Bali (by Colin McPhee)
JSTOR: http://www.jstor.org/stable/740124
Saturday, October 10, 2009
Feet Unbound - "Pilgrim"
Feet Unbound: Women of the Long March was a film directed by Khee-Jin Ng and the music was composed by Dr. Kelly Tang.
The Synopsis of the Film:
SynopsisOne of the largest troop movements in history was the withdrawal, beginning in 1934, of the Chinese Red Army from the advancing Nationalists, which would become known as the Long March. The losses during this 10,000-kilometre journey were tremendous. Due to lack of food and weaponry, only a small number of the Communist troops managed to survive. In the march, a few thousand women took part, in many cases just teenagers. Feet Unbound is their story. In his directing debut, Khee-Jin Ng chooses a double perspective. Six very old women who undertook the Long March tell not only about the hunger and continuous enemy attacks, but also about the fact that the ones who had been captured (and often seriously maltreated) were later rejected by the Communist party. We also meet a young journalist from Beijing who, tired of her dull job, decides to follow the route of the Long March - this time with more comfortable means of transport. Impressed by the gorgeous scenery, she observes that this beautiful nature does not play a role in any of the survivors' accounts. She gives the souls of the dead a bowl of rice and gains more insight into herself and the gravity of life.
Adapted from: http://www.idfa.nl/en/info/film.aspx?id=067854ed-71d1-4588-b75c-1943d2f1cbc1
ABOUT THE MUSIC:
Movement II. "Pilgrim" (in key of G-minor)
I was very much captivated by the use of open-harmonics of the violins which occurred throughout the movement. It gives a screechy and eerie feel, as if I was brought to the "spiritual" world. I would consider the open-harmonics notes as more of an "effect" role rather than any form of important harmonic role, although some harmonic consideration was obvious in some parts, such as the ending bar where by the note "D" was played as part of the G-minor chord. I thought this was important as the movement reaches the end whereby some form of settlement seemed necessary (i.e., going back to home key). In the other parts, the notes were pretty much alienated from the harmony. For example, E-natural do not belong to the D minor chord (Chord v) in bar 57, and G do not belong to the F major chord (chord VII) in bar 68. There were tinges of sadness and dread throughout the movement, and in particular I realised the consistent use of 4-3 suspensions (e.g., Bars 54; 57; 60; 61; 65; 68; etc.), noting also that preparation note need not always be from the same voice. The cello part seem to be "on its own" as compared to the rest of the instrumentation. Wide leaps were noticed in almost all the bars except for bars 59 and 62 whereby passing notes were used. In the other instrumental parts, the lines were smoother in that preceeding notes were usually step-wise or much smaller leaps.
After asking the composer with regards to this movement, he told me that the use of the open-harmonics was indeed to "create the other-worldly atmosphere". He has also interestingly pointed out that the first verse which was in G-minor, flows downward (descending) in register [melody]. After studying the score, the apparent bar would be bar 60 (Bb-A-G-F-E.nat.). It's also noticed that the E-natural actually leads logically to D the following bar. The second verse as oppose to the first has an ascending sequence [melody]. The heightening of the contour can be noticed (although not a "scalic" ascend) at bars 71-78 (C#-E.nat-G-A-Bb). This heightening of contour brought the music up to the climax of the movement. Very interestingly, the composer also commented that the cello part depicts the "search for high and low" which is relevant to the story line. It is thus apparent of the intentional use of the very wide-leaps noticed.
The Synopsis of the Film:
SynopsisOne of the largest troop movements in history was the withdrawal, beginning in 1934, of the Chinese Red Army from the advancing Nationalists, which would become known as the Long March. The losses during this 10,000-kilometre journey were tremendous. Due to lack of food and weaponry, only a small number of the Communist troops managed to survive. In the march, a few thousand women took part, in many cases just teenagers. Feet Unbound is their story. In his directing debut, Khee-Jin Ng chooses a double perspective. Six very old women who undertook the Long March tell not only about the hunger and continuous enemy attacks, but also about the fact that the ones who had been captured (and often seriously maltreated) were later rejected by the Communist party. We also meet a young journalist from Beijing who, tired of her dull job, decides to follow the route of the Long March - this time with more comfortable means of transport. Impressed by the gorgeous scenery, she observes that this beautiful nature does not play a role in any of the survivors' accounts. She gives the souls of the dead a bowl of rice and gains more insight into herself and the gravity of life.
Adapted from: http://www.idfa.nl/en/info/film.aspx?id=067854ed-71d1-4588-b75c-1943d2f1cbc1
ABOUT THE MUSIC:
Movement II. "Pilgrim" (in key of G-minor)
I was very much captivated by the use of open-harmonics of the violins which occurred throughout the movement. It gives a screechy and eerie feel, as if I was brought to the "spiritual" world. I would consider the open-harmonics notes as more of an "effect" role rather than any form of important harmonic role, although some harmonic consideration was obvious in some parts, such as the ending bar where by the note "D" was played as part of the G-minor chord. I thought this was important as the movement reaches the end whereby some form of settlement seemed necessary (i.e., going back to home key). In the other parts, the notes were pretty much alienated from the harmony. For example, E-natural do not belong to the D minor chord (Chord v) in bar 57, and G do not belong to the F major chord (chord VII) in bar 68. There were tinges of sadness and dread throughout the movement, and in particular I realised the consistent use of 4-3 suspensions (e.g., Bars 54; 57; 60; 61; 65; 68; etc.), noting also that preparation note need not always be from the same voice. The cello part seem to be "on its own" as compared to the rest of the instrumentation. Wide leaps were noticed in almost all the bars except for bars 59 and 62 whereby passing notes were used. In the other instrumental parts, the lines were smoother in that preceeding notes were usually step-wise or much smaller leaps.
After asking the composer with regards to this movement, he told me that the use of the open-harmonics was indeed to "create the other-worldly atmosphere". He has also interestingly pointed out that the first verse which was in G-minor, flows downward (descending) in register [melody]. After studying the score, the apparent bar would be bar 60 (Bb-A-G-F-E.nat.). It's also noticed that the E-natural actually leads logically to D the following bar. The second verse as oppose to the first has an ascending sequence [melody]. The heightening of the contour can be noticed (although not a "scalic" ascend) at bars 71-78 (C#-E.nat-G-A-Bb). This heightening of contour brought the music up to the climax of the movement. Very interestingly, the composer also commented that the cello part depicts the "search for high and low" which is relevant to the story line. It is thus apparent of the intentional use of the very wide-leaps noticed.
Monday, September 14, 2009
Term Project
Hi Dr. Chong and class,
I have been thinking about what to do and I thought I would want to analyse a 20th/21st Century work of a band composer - I've not done any in-depth analysis before and I think I would find it more meaningful for me to work on something that I'm interested in.
I'd want to analyse works by Satoshi Yagisawa, a composer I mentioned to you before. I've also given you a copy of one of his band score to take a look because I'm not too sure if its feasible for this term project. And after the "Indonesian Music" lesson last Friday, something else came to my mind which I thought may be feasible also - a piece called "Extreme Makeover" by Johan de Meij. This piece infuses Gamelan music with themes by Tchaikovsky, not too sure if you've heard of it, and again, I'm also not very sure if it's relevant for this term project. He also used bottle-blowing to imitate the Gamelan theme in one of the sections. This is a recording of it,
http://www.imeem.com/people/SgRQ6bz/music/fkJtqLdo/johan-de-meij-extreme-makeover/
Hi Dr. Chong and class,
I have been thinking about what to do and I thought I would want to analyse a 20th/21st Century work of a band composer - I've not done any in-depth analysis before and I think I would find it more meaningful for me to work on something that I'm interested in.
I'd want to analyse works by Satoshi Yagisawa, a composer I mentioned to you before. I've also given you a copy of one of his band score to take a look because I'm not too sure if its feasible for this term project. And after the "Indonesian Music" lesson last Friday, something else came to my mind which I thought may be feasible also - a piece called "Extreme Makeover" by Johan de Meij. This piece infuses Gamelan music with themes by Tchaikovsky, not too sure if you've heard of it, and again, I'm also not very sure if it's relevant for this term project. He also used bottle-blowing to imitate the Gamelan theme in one of the sections. This is a recording of it,
http://www.imeem.com/people/SgRQ6bz/music/fkJtqLdo/johan-de-meij-extreme-makeover/
Monday, September 7, 2009
Reflection Journal - "Internet Symphony"
Internet Symphony No. 1 "EROICA" by Tan Dun
When I first heard that Tan Dun has composed the Internet Symphony (commissioned by Google and Youtube), I was very excited about what I was about to hear. The "Internet Symphony" itself seems to be something like an oxymoron, if I've used the correct word for this. Usually when we think of "Symphony", we think of the big masters (e.g., Beethoven, Tchaikovsky, etc) of the past and the word "Internet" doesn't seem to connect well with the "past" as it is something so modern.
My first few thoughts/guess even before hearing this symphony:
1. Is this going to be some kind of computer music, with computer-generated tones or effects?
2. Knowing that Tan Dun is a 20th Century Composer, would I expect something very non-tonal (*I am not generalising that all 20C music are non-tonal*)?
3. Will it be something similar to his famous "Ghost Opera"?
4. Is it going to sound very "Chinese" since he is a Chinese himself; perhaps something like "Crouching Tiger Hidden Dragon"?
I first heard the Internet Symphony on Youtube; and with the visual aid of the orchestra performing on youtube, listening to this piece of music has made the music sound more humane (alive) to me, comparatively to just listening to the audio version of it alone. In the introduction, a pi-pa (one of the string instruments found in the Chinese Orchestra) sounding instrument was heard, and it was actually done on the Harp. My initial response or hint I was getting from just the introduction alone was that this piece seems to be heading in the oriental (Chinese) direction. I wasn’t sure about my assumption as it may be too early to tell. An unconventional use of the brake-drum in the standard orchestra was also spotted, with each automobile brake drum responsible for a specific pitch. In particular the motif on the music seems to hover around the notes C-A-E, which was introduced by the brake-drum and pizzicato strings. The use of such an instrument (or probably just an automobile part for some) in the orchestra interest me pretty much. I have to admit though, I have experienced a brake-drum part written for a wind band, but have never heard one that was used in an orchestra.
An then, there was the beautiful lyrical trumpet solo passage which to me, was obviously very tonal, and in fact very oriental-sounding (major pentatonic-ish). The next thing that came to my mind was the question, “Is this piece trying to imitate the sounds of the Chinese Orchestra?” What prompted me to raise the question was not only the melodic element that I heard, but also the way in which the orchestral instruments (such as pizzicato strings) were played as well as the very close timbre of the Chinese Orchestra instrument that was coming out from the instruments. At times, I think it did sound like a Chinese Orchestra, especially when you hear it without any visual aid. One more thing that struck me was the use of some brassy-gliss from the French horns which very much sound like a falling effect to me – more “effect-element” rather than “melodic-element”. Probably the last 2nd or 3rd section, there seem to be also some elements of a dance as the strings were busily bowing the main theme in a more rhythmic style.
What I found out…
This work was conceived during the China-Olympics and the composer stumbled upon a few brake-drums when he bypassed the garage along the street. He played with those brake drums and was very much captivated by the beautiful sounds which he heard from them, and thus the emergence of the motif that was heard at the beginning of the symphony. He then began to experiment with the motif and realized that this was the spirit of the young and the spirit of today. From it, he heard Beethoven and the echo of the orchestra with the same kind of chord which was essential to form his second motif of the symphony – Beethoven and today’s street noise. According to Tan Dun, it is very important for the symphony culture to be related to today’s street sound. Anything could be a language to communicate to the audience/listener. He added that the Internet Symphony provided a platform for anything you want to say through the sound, voice, any instruments or any tools or objects (stones, water, etc.). All the sound is actually the language of your heart and not very much related to technique -that’s the future expression of music!
More about the structure...
The structure of the Internet Symphony is very new to Tan Dun himself. It is very interesting to him because the micro-structure of it somehow explained philosophically the phrase, “small is big”.
The symphony consists of four movements:
Movement I – Focus on street car noises and automobile brake drums with the motif on the notes C-A-E.
Movement II – The trumpet melody motif of the Olympic echoes
Movement III – Rhythmic (C major and E major together) element similar to Carmen and Swan Lake and many other music. In terms of performance, he intended the style to be like French, but tried various styles with the orchestra such as the “Russian way” or the “London way” as he termed. He then finally settled on the “London way” after experimenting out with the orchestra. He realized the vibrancies in the playing style with the “London accents”, with pop, rock and hip-hop influence in it.
Movement IV – Similar melodic idea as II but played in a rhythmic manner like III.
He also commented that, “Music is Life, and Life is Music”. The symphony provides wonderful examples of it - one can just solely practise the music but it is actually reflecting the mirror of one’s life.
Doing some random search also allowed me to discover a Chinese Orchestra transcription performance of the Internet Symphony. It was a very interesting experience to hear how the Chinese Orchestra transcription tries to “imitate” the original scoring of Tan Dun’s Symphony Orchestra version.
VERY INTERESTING! Is this Internet Symphony in general some kind of "East meets West" influence?
When I first heard that Tan Dun has composed the Internet Symphony (commissioned by Google and Youtube), I was very excited about what I was about to hear. The "Internet Symphony" itself seems to be something like an oxymoron, if I've used the correct word for this. Usually when we think of "Symphony", we think of the big masters (e.g., Beethoven, Tchaikovsky, etc) of the past and the word "Internet" doesn't seem to connect well with the "past" as it is something so modern.
My first few thoughts/guess even before hearing this symphony:
1. Is this going to be some kind of computer music, with computer-generated tones or effects?
2. Knowing that Tan Dun is a 20th Century Composer, would I expect something very non-tonal (*I am not generalising that all 20C music are non-tonal*)?
3. Will it be something similar to his famous "Ghost Opera"?
4. Is it going to sound very "Chinese" since he is a Chinese himself; perhaps something like "Crouching Tiger Hidden Dragon"?
I first heard the Internet Symphony on Youtube; and with the visual aid of the orchestra performing on youtube, listening to this piece of music has made the music sound more humane (alive) to me, comparatively to just listening to the audio version of it alone. In the introduction, a pi-pa (one of the string instruments found in the Chinese Orchestra) sounding instrument was heard, and it was actually done on the Harp. My initial response or hint I was getting from just the introduction alone was that this piece seems to be heading in the oriental (Chinese) direction. I wasn’t sure about my assumption as it may be too early to tell. An unconventional use of the brake-drum in the standard orchestra was also spotted, with each automobile brake drum responsible for a specific pitch. In particular the motif on the music seems to hover around the notes C-A-E, which was introduced by the brake-drum and pizzicato strings. The use of such an instrument (or probably just an automobile part for some) in the orchestra interest me pretty much. I have to admit though, I have experienced a brake-drum part written for a wind band, but have never heard one that was used in an orchestra.
An then, there was the beautiful lyrical trumpet solo passage which to me, was obviously very tonal, and in fact very oriental-sounding (major pentatonic-ish). The next thing that came to my mind was the question, “Is this piece trying to imitate the sounds of the Chinese Orchestra?” What prompted me to raise the question was not only the melodic element that I heard, but also the way in which the orchestral instruments (such as pizzicato strings) were played as well as the very close timbre of the Chinese Orchestra instrument that was coming out from the instruments. At times, I think it did sound like a Chinese Orchestra, especially when you hear it without any visual aid. One more thing that struck me was the use of some brassy-gliss from the French horns which very much sound like a falling effect to me – more “effect-element” rather than “melodic-element”. Probably the last 2nd or 3rd section, there seem to be also some elements of a dance as the strings were busily bowing the main theme in a more rhythmic style.
What I found out…
This work was conceived during the China-Olympics and the composer stumbled upon a few brake-drums when he bypassed the garage along the street. He played with those brake drums and was very much captivated by the beautiful sounds which he heard from them, and thus the emergence of the motif that was heard at the beginning of the symphony. He then began to experiment with the motif and realized that this was the spirit of the young and the spirit of today. From it, he heard Beethoven and the echo of the orchestra with the same kind of chord which was essential to form his second motif of the symphony – Beethoven and today’s street noise. According to Tan Dun, it is very important for the symphony culture to be related to today’s street sound. Anything could be a language to communicate to the audience/listener. He added that the Internet Symphony provided a platform for anything you want to say through the sound, voice, any instruments or any tools or objects (stones, water, etc.). All the sound is actually the language of your heart and not very much related to technique -that’s the future expression of music!
More about the structure...
The structure of the Internet Symphony is very new to Tan Dun himself. It is very interesting to him because the micro-structure of it somehow explained philosophically the phrase, “small is big”.
The symphony consists of four movements:
Movement I – Focus on street car noises and automobile brake drums with the motif on the notes C-A-E.
Movement II – The trumpet melody motif of the Olympic echoes
Movement III – Rhythmic (C major and E major together) element similar to Carmen and Swan Lake and many other music. In terms of performance, he intended the style to be like French, but tried various styles with the orchestra such as the “Russian way” or the “London way” as he termed. He then finally settled on the “London way” after experimenting out with the orchestra. He realized the vibrancies in the playing style with the “London accents”, with pop, rock and hip-hop influence in it.
Movement IV – Similar melodic idea as II but played in a rhythmic manner like III.
He also commented that, “Music is Life, and Life is Music”. The symphony provides wonderful examples of it - one can just solely practise the music but it is actually reflecting the mirror of one’s life.
Doing some random search also allowed me to discover a Chinese Orchestra transcription performance of the Internet Symphony. It was a very interesting experience to hear how the Chinese Orchestra transcription tries to “imitate” the original scoring of Tan Dun’s Symphony Orchestra version.
VERY INTERESTING! Is this Internet Symphony in general some kind of "East meets West" influence?
Sunday, February 17, 2008
Blogging Assignment - SAY YES
.GIF)
Title of Song: SAY YES
Music: Ryo Aska
Artistes: Chage & Aska
Arranged: Steven Lai
Key: C Major
(NOTE: The score image is quite small and you may want to right-click and save the picture to have a bigger view instead)
This is a wonderful piece of music although it’s quite an old song. I chose this song not just because of its nice melodic line but also some of the nice chromatic harmonies and “surprises” happening in the music. Attached is the beginning extract that I have analyzed, and a YOUTUBE recording of it - enjoy!
I will first look at the phrase structure and by enlarge it is characterized by “L-S-S” feature. Notice at bar 16, I did not include it as part of the phrase structure as that portion itself is not sung.
The bass line in the beginning is quite interesting, in that it is literally “moving up the scale” (i.e., C-D-E-F). Bar 5 involves a secondary mixture harmony - chord III. It involves a change of mode of the chord with the diatonic root. Also the G# that is involved has a tendency to go to A the following bar, and indeed, it is proceeded by an A-minor chord (vi) which is expected.
At bar 8, although the chords are similar to the beginning, there is more harmonic rhythm in the bass line as compared to those in the first few bars. The use of quavers increases the momentum of the music a little as heard. I also notice the use of intervallic “3rds” at bar 9 (marked in the score) which is a common cliché that we encounter. This is similar to bar 14 to 15 in the RH-part – the 3-6 cliché is being used here as marked in the score.
At bar 11, the tonicization of F major can be seen as indicated in the Roman numeral. I would expect another tonicization to occur at bar 12 by looking at the score and also the expectation created by every chord in the bar; however it did not really happen. This is also where I have problems doing the Roman numeral analysis for this particular bar. For example at bar 12, I would expect a sort of sequence similar to the previous bar. However there is a surprise created when the D half-dim 7th chord occurred, when I’m expecting just a D-dim chord for example. Also when the C-major chord occurred – I would expect an Eb chord instead. This will be a good case whereby the composer surprises the listener by playing around with the expectation of the listener.
Tonicization also occurs at bars 12-13 and another at bars15-16. There seem to be another surprise created from bars 16-17. The chord V6/V will tend to lead to V (with G in the bass – root position), but it did not happen. It went on to V4-2 instead, with F in the bass. This expectation would be quite strong as the leading tone, F# is quite heavily doubled. However from another point of view, that F# can be treated as a chromatic passing note leading from G to F. Perhaps the surprise wouldn’t be as great if I were to double the G in the bass!
I hope you've enjoyed the music and please feel free to comment on it.
Regards,
Benji
Wednesday, January 16, 2008
"I GOT NERVE" Phrase Structure Analysis
This song is pretty new to me, and it's quite interesting to listen to the clip and review what I have learnt regarding it's phrase structure. As most of the verses are similar, the first verse and the chorus will be discussed:
The Big Picture
What attracts me most to this music is mainly their emphasis on phrases which do not occur at the usual "first beat of the bar". I am taking this music in 4/4 common time, simple meter. In the last semester, we learnt that phrase structures having the "Short-Short-Long" subdivision or S-S-L, and this is definitely "rampant" in the whole song! However, the S-S-L feature do not always occur on the first beat. And as it moves along, the emphasis of the phrase in the meter changes. As it reaches the chorus, emphasis begins on the first beat already, and then changes again! I'll explain in further details...
First Verse
I will categorise the 1st verse into two different sections, based on the place in the meter where the phrase starts. In the first section, phrase starts on the 4th quaver beat, which is a weak beat.
"We haven't met (S), And that's ok (S), 'Cause you will be asking for me one day (L),
Don't want to wait (S), in line (S), The moment is mine believe me (L)"
In the second section, phrase starts on the third beat, which is a relatively strong beat. The phrase then went back as before (4th quaver beat) for the (L) phrases.
"Don't Close (S), Your Eyes (S),
'Cause it's a chance worth takin' (L), And I think that I can shake you (L)"
Chorus
The chorus is interesting in that the S-S-L phrase structures do not occur in a "predictable" fashion. For example, I would group the first portion as:
"I know where I stand (S), I know who I am (S), I would never run away when life gets bad, it's (L)"
The occurrence of the phrases differs by where it starts in the meter. The first (S) occurs on the first beat, the second (S) occurs on the 4th beat, and the (L) occurs on the 3rd beat in the following bar. It is also noticed that although the lyrics "it's" is not part of the previous sentence, it is being sung to complete the bar although the word itself is hanging individually in the phrase.
The second portion of this chorus then starts again in similar fashion.
I personally feel it's unpredictability and interesting emphasis attracts listeners the most. And not forgetting the pop nature and rhythmic feel by the band adds on to the colour of the song!
Tuesday, September 25, 2007
Music Analysis II
Music Analysis on "FOREVER IN LOVE":
.JPG)
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
.bmp){kind=link}
.JPG)
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).
.JPG){kind=link}
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
.bmp){kind=link}
Subscribe to:
Posts (Atom)