Monday, March 28, 2011
Tuesday, February 15, 2011
Harmonic Analysis of I believe I can fly
| Section | Bar numbers | Tonality | Harmonic Function(s) |
| Verse 1/2 | 1-83 | C Major | Tonic expansion ( I - Common ToneØ4/2 ) |
| Bridge | 84-10 |
| Pre-dominant (V/vi –vi – iiØ4/3) |
|
| 11-122 |
| Dominant expansion |
| Chorus 1 | 123-13 |
| Tonic |
|
| 14-15 |
| Pre-dominant (vi Ø7 – ii Ø7) |
|
| 16-17 |
| Dominant (with tonicization to vi) |
|
| 17-18 |
| Pre-dominant (iiØ4/- iv6) |
|
| 19 |
| Dominant (Cadential 6/4) |
|
| 20-21 |
| Pre-dominant (iiØ4/3 –vi) [1st time] (ii06 – vi) -2nd time] |
|
| 22 |
| Dominant [1st time] Pre-dominant (iiØ7) [2nd time] |
|
| 23 |
| Tonic |
|
| 24 |
| Dominant with modulation using Neapolitan 6th chord to Db Major |
| Bridge | 243-282 | Db Major | Pre-dominant (vi - iiØ4/3) Dominant (Cadential 6/4) |
| Chorus 2 | 283-35 |
| Similar to chorus 1 |
|
| 36 |
| Pre-dominant (iiØ4/3) |
|
| 37 |
| Dominant (Cadential 6/4) – unresolved |
| Coda | 38 |
| Dominant substitute (viiØ4/2) |
|
| 39-40 |
| Tonic |
Friday, February 4, 2011
Musical Analysis
Instrumental Introduction (8 bars) - not reflected on piano sheet music
The piece begins quietly with the string section, before gradually building up in the thickness of homophonic texture, welcoming the main theme of the song played by the bassoon in lower registers. In contrast, the sharper tone of the oboe answers the antecedent phrase before ushering in the drum groove of the song in Verse 1.
Verse 1 (Bars 1 - 83 ):
Chord Progression: I - CTo7 - I - CTo7
Set in the tonality of C Major, the first verse section of the song is essentially an expansion of the tonic triad (C-E-G) with the interesting sound colour usage of Common Tone Half Diminished 7th chords (CTO4/2 chords) in bars 2,4, 6 and 8 to further pull the tension of Verse 1 towards the ensuing section. Most importantly, the strong reliance on the tonic triad and tonic pedal (sustained C note) in Verse 1 also emphasises a strong sense of tonality for the listeners' ears right from the start.
With almost similar phrasing in the Verse 1 section, the melodic shape is generally descending in nature, creating a darker feel to the music as reinforced in the lyrics (I used to think that I could not go on .. life.. an awful song..). In addition, rhythmic syncopation is also employed to offset the conventional points of emphasis in the music, creating a staggering music effect for the listener in word-painting of the life difficulties faced by the singer.
Bridge 1 (84 - Bar 123)
Chord Progression: V/vi - vi - iiØ4/3- V
The bridge section begins with an immediate contrast to the previous section's tonality with a tonicization to the relative minor key - A Minor, before following with another pre-dominant function chord (iiØ4/3) and ending on a strong and reinforced dominant chord. In essence, the toniziation serves harmonically as a pre-dominant function, preceding the dominant function chords, further increasing harmonic intensity before strengthening the return of the tonic chord in the first beat of the Chorus section.
Chorus (Bar 124 - 21)
Chord Progression: I – viØ7 – iiØ7 – V -
V6/vi - viØ7 - iiØ4/3 – iv6 - V - iio6 – vi - V
A more positive change of mood can be felt in the chorus section with the change in melodic shape (generally ascending) of the main melody. With the usage of the circle-of-fifths harmonic progression in the antecedent phrase of the chorus section (I – viØ7 – iiØ7 – V6-5 ), the tonality of the piece is again emphasised in the chorus section. In the consequent phrasing, increased harmonic rhythm can be heard with a tonizication to the relative minor, followed by the usage of pre-dominant harmonies ( iiØ4/3 – iv6). The interesting use of iv6 (a borrowed chord in the key of C Major) adds colour to the music and leads into the Dominant function chord in bar 19. However, instead of resolving onto a tonic, there is an unexpected return to pre-dominant harmonies in bars 20-21 [first time] (iiØ4/3 – vi) before re-emphasising the dominant function in bar 22 [first time]. This unresolved tension pulls over to the next section and provide a sense of unity and continuity to the song.
It is interesting to note that iiØ4/3 chord is used frequently in this song as a pre-dominant function chord. In addition to its harmonic function, the unique tone-colour presented in the chord - in its constituents of 2 tritones within the chord also contribute to the overall direction of the song through tension and release.
The specific areas in which the iiØ4/3chord is used highlight specifically important key words (in bar 10 "do it") emphasise the importance of taking action towards the realisation of dreams.
Verse 2 (reprise of Verse 1)
Linking passage (Bar 22-243)
Chord Progression: iiØ7 – I6 – V6/4 - b II 6
In the linking passage, tension is gradually built up towards the reprise of the chorus section with the high ascending pitches of the Violins , in addition to the counter-melody played by the lower strings to create a denser texture. The V6/4 chord in Bar 24 pushes the listeners' ears to anticipate a tonic resolution chord, only to hear a modulation to the neapolitan key (b II ) in D flat Major. This transition is cleverly done with the usage of the neapolitan 6th chord in the last beat of Bar 24 , pivoting as chord I6 in the new key. In addition, Db is also used as a common-tone note to the preceding chord vi in bar 25.
Bridge (Bar 244 - 283)
Chord Progression (Db major) : vi - iiØ4/3 - V6/4 - 5/3
The shift to the remote key of Db major takes the listener by surprise, and leads to the pre-dominant function chords (vi - iiØ4/3) before a cadential 6/4 chord in the modulated key.
I would like to point to a particular learning point in the music analysis. In bar 26, there is the unexpected appearance of then note - Bbb which had me thinking for a long time. It was difficult to harmonise the A natural note in the bass with Gb and Bbb in the upper parts. It was until I learnt the topic of enharmonic notes in lecture time when it suddenly dawned upon me that this could be a case of enharmonic harmonies. The A natural note can be enharmonically read as Bbb in which the chord could be identified as ii06/4?
This led to yet another question that formed in my mind. What is the function of a ii06/4 chord? Not only was the diminished chord rarely used in the 3rd inversion, I could not determine its harmonic function in that context? I took abit of time to ponder over this but when I looked at a larger picture of that particular chord, I realise that it had a similar function in the bridge section as with the earlier bridge section (before the first hearing of chorus). I then determined that despite, the missing C# note to 'qualify' for the harmony iiØ4/3 in bar 26, the similar function of the harmony being pre-dominant in sound and preceding the dominant harmony(bar 27) as in comparison with bar 10-11, could mean that C# is also enharmonically changed to Db (in melodic part).
Why would there be a need for the enharmonic change then? I figured that in order to achieve a smooth chromatically descending bassline, the A natural note was needed i.e. Bb, A natural, A flat (refer to bars 25-28). In addition, it could confusing for the performers to read a score which is full of sharps and flats in the harmony.
Introduction of Gospel choir adds to the thickening of textures and builds toward climax in final chorus section. Also, the modulation to a higher tonality - the Neapolitan key also reflects the main theme of the song (I believe I can fly), and shows the composer's intention in word-painting text with music effectively, by also shifting the the key higher.
Chorus (Bar 284 - 35)
Chord Progression (Db major) : I – viØ7 – iiØ7 – V -
V6/vi - viØ7 - iiØ4/3 - V6/4
Similar chord progression as of previous chorus section. Strings play counter-melody and the puncuation made to the main singer's melodic line by the gospel choir proved effective in heightening the energy level of this section.
Coda (Bar 36 till the end)
Chord Progression (Db major) : viio4/2 - V6/4 (repeated) - I
The alternating of dominant-function chords (without resolution) in the coda section creates a sense of pull and direction towards the final tonic chord of the piece.
There is an interesting use of viio4/2 as a dominant substitute before the final tonic chord in bar 39.
Also, the ascending melodic line towards the climatic point of "fly-eye-eye!" leads the listener to a grand finale and great sense of positivity.
The piece begins quietly with the string section, before gradually building up in the thickness of homophonic texture, welcoming the main theme of the song played by the bassoon in lower registers. In contrast, the sharper tone of the oboe answers the antecedent phrase before ushering in the drum groove of the song in Verse 1.
Verse 1 (Bars 1 - 83 ):
Chord Progression: I - CTo7 - I - CTo7
Set in the tonality of C Major, the first verse section of the song is essentially an expansion of the tonic triad (C-E-G) with the interesting sound colour usage of Common Tone Half Diminished 7th chords (CTO4/2 chords) in bars 2,4, 6 and 8 to further pull the tension of Verse 1 towards the ensuing section. Most importantly, the strong reliance on the tonic triad and tonic pedal (sustained C note) in Verse 1 also emphasises a strong sense of tonality for the listeners' ears right from the start.
With almost similar phrasing in the Verse 1 section, the melodic shape is generally descending in nature, creating a darker feel to the music as reinforced in the lyrics (I used to think that I could not go on .. life.. an awful song..). In addition, rhythmic syncopation is also employed to offset the conventional points of emphasis in the music, creating a staggering music effect for the listener in word-painting of the life difficulties faced by the singer.
Bridge 1 (84 - Bar 123)
Chord Progression: V/vi - vi - iiØ4/3- V
The bridge section begins with an immediate contrast to the previous section's tonality with a tonicization to the relative minor key - A Minor, before following with another pre-dominant function chord (iiØ4/3) and ending on a strong and reinforced dominant chord. In essence, the toniziation serves harmonically as a pre-dominant function, preceding the dominant function chords, further increasing harmonic intensity before strengthening the return of the tonic chord in the first beat of the Chorus section.
Chorus (Bar 124 - 21)
Chord Progression: I – viØ7 – iiØ7 – V -
V6/vi - viØ7 - iiØ4/3 – iv6 - V - iio6 – vi - V
A more positive change of mood can be felt in the chorus section with the change in melodic shape (generally ascending) of the main melody. With the usage of the circle-of-fifths harmonic progression in the antecedent phrase of the chorus section (I – viØ7 – iiØ7 – V6-5 ), the tonality of the piece is again emphasised in the chorus section. In the consequent phrasing, increased harmonic rhythm can be heard with a tonizication to the relative minor, followed by the usage of pre-dominant harmonies ( iiØ4/3 – iv6). The interesting use of iv6 (a borrowed chord in the key of C Major) adds colour to the music and leads into the Dominant function chord in bar 19. However, instead of resolving onto a tonic, there is an unexpected return to pre-dominant harmonies in bars 20-21 [first time] (iiØ4/3 – vi) before re-emphasising the dominant function in bar 22 [first time]. This unresolved tension pulls over to the next section and provide a sense of unity and continuity to the song.
It is interesting to note that iiØ4/3 chord is used frequently in this song as a pre-dominant function chord. In addition to its harmonic function, the unique tone-colour presented in the chord - in its constituents of 2 tritones within the chord also contribute to the overall direction of the song through tension and release.
The specific areas in which the iiØ4/3chord is used highlight specifically important key words (in bar 10 "do it") emphasise the importance of taking action towards the realisation of dreams.
Verse 2 (reprise of Verse 1)
Linking passage (Bar 22-243)
Chord Progression: iiØ7 – I6 – V6/4 - b II 6
In the linking passage, tension is gradually built up towards the reprise of the chorus section with the high ascending pitches of the Violins , in addition to the counter-melody played by the lower strings to create a denser texture. The V6/4 chord in Bar 24 pushes the listeners' ears to anticipate a tonic resolution chord, only to hear a modulation to the neapolitan key (b II ) in D flat Major. This transition is cleverly done with the usage of the neapolitan 6th chord in the last beat of Bar 24 , pivoting as chord I6 in the new key. In addition, Db is also used as a common-tone note to the preceding chord vi in bar 25.
Bridge (Bar 244 - 283)
Chord Progression (Db major) : vi - iiØ4/3 - V6/4 - 5/3
The shift to the remote key of Db major takes the listener by surprise, and leads to the pre-dominant function chords (vi - iiØ4/3) before a cadential 6/4 chord in the modulated key.
I would like to point to a particular learning point in the music analysis. In bar 26, there is the unexpected appearance of then note - Bbb which had me thinking for a long time. It was difficult to harmonise the A natural note in the bass with Gb and Bbb in the upper parts. It was until I learnt the topic of enharmonic notes in lecture time when it suddenly dawned upon me that this could be a case of enharmonic harmonies. The A natural note can be enharmonically read as Bbb in which the chord could be identified as ii06/4?
This led to yet another question that formed in my mind. What is the function of a ii06/4 chord? Not only was the diminished chord rarely used in the 3rd inversion, I could not determine its harmonic function in that context? I took abit of time to ponder over this but when I looked at a larger picture of that particular chord, I realise that it had a similar function in the bridge section as with the earlier bridge section (before the first hearing of chorus). I then determined that despite, the missing C# note to 'qualify' for the harmony iiØ4/3 in bar 26, the similar function of the harmony being pre-dominant in sound and preceding the dominant harmony(bar 27) as in comparison with bar 10-11, could mean that C# is also enharmonically changed to Db (in melodic part).
Why would there be a need for the enharmonic change then? I figured that in order to achieve a smooth chromatically descending bassline, the A natural note was needed i.e. Bb, A natural, A flat (refer to bars 25-28). In addition, it could confusing for the performers to read a score which is full of sharps and flats in the harmony.
Introduction of Gospel choir adds to the thickening of textures and builds toward climax in final chorus section. Also, the modulation to a higher tonality - the Neapolitan key also reflects the main theme of the song (I believe I can fly), and shows the composer's intention in word-painting text with music effectively, by also shifting the the key higher.
Chorus (Bar 284 - 35)
Chord Progression (Db major) : I – viØ7 – iiØ7 – V -
V6/vi - viØ7 - iiØ4/3 - V6/4
Similar chord progression as of previous chorus section. Strings play counter-melody and the puncuation made to the main singer's melodic line by the gospel choir proved effective in heightening the energy level of this section.
Coda (Bar 36 till the end)
Chord Progression (Db major) : viio4/2 - V6/4 (repeated) - I
The alternating of dominant-function chords (without resolution) in the coda section creates a sense of pull and direction towards the final tonic chord of the piece.
There is an interesting use of viio4/2 as a dominant substitute before the final tonic chord in bar 39.
Also, the ascending melodic line towards the climatic point of "fly-eye-eye!" leads the listener to a grand finale and great sense of positivity.
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