||* Finding Da FaiRytaLe MeLody

Sunday, October 8

Analysis 1/2

Sorry about my previous analysis. There's a correction I would like to make is that previously I said that there's contrary motion in the 1st 2 bars. And so the correction is that both in solo and the soprano is the same throughout the piece and that both the tenor and bass are moving in parallel motion. In bar 22, the soprano, alto and tenor tends to move downwards but the bass in contrast, moves upwards. This helped in giving a melodic line, often said by Dr. Chong in class. ;)

The piece is in D major.
I've noticed that most of the bass are being doubled. I wondered if it's regular in pop music.
From bar 8 onwards (highlighted yellow), the piece suddenly moved from C# and A# to C and A natural. From bar 10 onwards, it went on to G#, but C is back to C# and A is still natural. And from bar 19 onwards, the A becomes Ab, B becomes Bb! The change in sharps and flats makes the piece even smoother. It also helped in building up the peak of the piece as it goes on to the chorus.

There is a tonic expansion from bar 1-5 (ie. T-PD-D-T). There's a IV-vi-ii progression from bar 7-9. Is it a kind of PD expansion? Well, at bar 11-13, the harmonic progression I-V-I states that the PD is omitted and thus having (T-D-T). This as we learnt in class that it is totally okay for us to omit the PD progression. In bar 18, V53 moved to 64 and 75. I think that is considered a neighbouring 64. In the chorus (bar 19), I guess it moved back to the tonic expansion (I-ii-V-I).
Also, there are no ornamentations in this piece except in grace note put in 4th bar. But amazingly the tune can still make an impression in everyone's head!

*Da Princess;
10:08 PM

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