Dr Chong:
1) Please ignore the markings I made on the copy of the score that I gave you. The WRITTEN ANALYSIS below is the updated analysis. The marked analysis on the score is NOT THE UPDATED/CORRECT one.
2) If you need to keep track, my first post was actually on Oct 2 (that post has since been deleted). Older posts from October have been transferred to another page by blogspot, you must click on another link on the right hand side.
Thanks for the trouble!
grace
Monday, November 2, 2009
Stand By Me - Analysis (Part 3)
a continuation...
Rhythmic Analysis
There is also the use of syncopation in this song, whereby we see that there is an emphasis or implied accent on the weaker beats. For instance, in bar 1, because of the tied D in the melody, the notes that follow after that stress the second half of beats 3 and 4, giving it a syncopated feel.
Rhythmic Analysis
There is also the use of syncopation in this song, whereby we see that there is an emphasis or implied accent on the weaker beats. For instance, in bar 1, because of the tied D in the melody, the notes that follow after that stress the second half of beats 3 and 4, giving it a syncopated feel.
Stand By Me - Analysis (Part 2)
Here is a continuation of the post below :)
Melodic Analysis
After a brief introductory phrase at the start, the song begins with a catchy tune. The distinguishing factor between the first and second verse is the melodic contour that follows after both instances of "Stand by me". The melodic contour of the music in bar 4 after the first instance of "Stand by me" in the bar before, is a scalic movement upwards. Compare this with the octave leap in bar 8 that follows after the second instance of "Stand by me" in the bar before that. The octave leap in the second instance provides dramatic contrast and is musically satisfying as a melody.
Rhythmic Analysis
This song is not easy to sing or play because of the frequent feature of metrical displacement. The metrical displacement in this piece occurs in various different forms. One is the way in which notes across the bar-lines are tied or held. This can be seen in bars 1-2, 5-6, 13-14, and 15-16. Another way in which metrical displacement occurs is how the notes are tied or held across the second and third beats in a bar. This is evident in bars 1, 2, 3, 4, 5, 7, 8, 9, 11, 12, 13, 14, 15, 16, 17, 18. As we can see, metrical displacement is quite prevalent in just the first page of the score, and this is something that can throw the pianist off-guard.
Melodic Analysis
After a brief introductory phrase at the start, the song begins with a catchy tune. The distinguishing factor between the first and second verse is the melodic contour that follows after both instances of "Stand by me". The melodic contour of the music in bar 4 after the first instance of "Stand by me" in the bar before, is a scalic movement upwards. Compare this with the octave leap in bar 8 that follows after the second instance of "Stand by me" in the bar before that. The octave leap in the second instance provides dramatic contrast and is musically satisfying as a melody.
Rhythmic Analysis
This song is not easy to sing or play because of the frequent feature of metrical displacement. The metrical displacement in this piece occurs in various different forms. One is the way in which notes across the bar-lines are tied or held. This can be seen in bars 1-2, 5-6, 13-14, and 15-16. Another way in which metrical displacement occurs is how the notes are tied or held across the second and third beats in a bar. This is evident in bars 1, 2, 3, 4, 5, 7, 8, 9, 11, 12, 13, 14, 15, 16, 17, 18. As we can see, metrical displacement is quite prevalent in just the first page of the score, and this is something that can throw the pianist off-guard.
Stand By Me - Analysis (Part 1)
Background Information
The above is from the piano score for an original popular Korean song called “Stand By Me”. This is one of the theme songs in the popular Korean drama serial called “Boys Over Flower”.
Here is a link to a recording-cum-video featuring the song:
http://www.youtube.com/watch?v=7oUDrWTWpJs
Harmonic Analysis
The song is in the key of C major. Bar 1 is outlined with a tonic C major chord. The harmony in bar 2 is very unique. It consists of an F major chord with an added G in the upper part, played over a C tonic octave pedal in the lower part. I analysed the overall chord in bar 2 to be that of IVc.
The music in bar 3 goes through chords IV and V, which are chords F and G in the key of C major. In bar 4, the harmony goes through chords iii and vi, which are chords E minor and A minor respectively. The whole of bar 5 is in chord ii7, which is the seventh D minor chord in the key of C major. This is followed by a D major chord V in bar 6. Together, the chord ii7 in bar 5 and the chrod V in bar 6 form what appears to be an imperfect cadence.
Bars 7 to 9 go through a similar chord progression as bars 3 to 6. The harmony is largely the same. For instance, both the music in bars 3 and 7 go through chords IV followed by V. In fact, not only is the harmony the same, the notes in bars 3 and 7 are actually exactly the same.
Similarly, bars 4 and 8 go through the same harmony - both progress through chord iii followed by chord vi. The harmony in bar 5 is same as that of the first half of bar 9. In the second half of this bar, the music then progresses to a very unique harmony – an F major chord in the upper part over a G major chord in the lower part. I analysed the overall chord to be an eleventh dominant chord, or V11. The music then moves to a seventh C major chord, or I7 chord. These last 3 chords, ii7, V and I7, make up a cadential progression which gives the music a sense of closure.
In the music that follows after, we once again see the use of similar chord progressions as the sections before. For example, bars 11 to 14 goes through the same harmony as that of bars 3 to 6. In comparison, bars 15 to 18 have the same harmonic progression as bars 7 to 10, with the only difference being that the second half of bar 17 is in an ordinary chord V in G major, unlike the more decorated V11 in the second half of bar 9.
Functional Analysis
The harmony in bar 1 appears to have a tonic function. This tonic function goes through an expansion in bar 2, as can be seen from the continued C bass. Thereafter the music seems to have a largely predominant function, until the presence of the dominant V chord in bar 6.
The music from bar 7 onwards has a predominant function. This continues till the V11 chord in bar 9, which clearly has a dominant function. This is followed by a tonic chord with a tonic function in bar 10.
What we see in bars 11 to 14 is similar to that of bars 3 to 6. The chord progression in both instances are the same, and thus we can say that the functional harmony should generally be the same as well.
This is also the case for bars 15 to 18, which have the same harmonic progression as bars 7 to 10. The functional analysis in both instances are largely the same as well.
Phrase Structure and/or Sentence Analysis
The song opens with a 2-bar phrase, something I would call an Introductory Phrase. What we see after this appears to be a simple period. We see an Antecedent Phrase which spans 4 bars, from bar 3 to 6. This is followed by a Consequent Phrase which is outlined in the next 4 bars, from bars 7 to 10. Together, these two 4-bar phrases form a simple period.
The 4-bar phrase structure of this song appears to be quite regular. This can be seen from the second Antecedent Phrase which, like the first Antecedent Phrase in bars 3 to 6, occurs over a span of 4 bars, from bars 11 to 14.
However, we can see a distinct difference in this second Antecedent Phrase. It is sort of linked to the second Consequent Phrase, as can be seen from how the music continues seamlessly to bar 15, which marks the start of the second occurrence of the Consequent Phrase. The second Consequent Phrase is outlined in bars 15 to 18, and together with the previous Antecedent Phrase, these make up the second simple period.
The above is from the piano score for an original popular Korean song called “Stand By Me”. This is one of the theme songs in the popular Korean drama serial called “Boys Over Flower”.
Here is a link to a recording-cum-video featuring the song:
http://www.youtube.com/watch?v=7oUDrWTWpJs
Harmonic Analysis
The song is in the key of C major. Bar 1 is outlined with a tonic C major chord. The harmony in bar 2 is very unique. It consists of an F major chord with an added G in the upper part, played over a C tonic octave pedal in the lower part. I analysed the overall chord in bar 2 to be that of IVc.
The music in bar 3 goes through chords IV and V, which are chords F and G in the key of C major. In bar 4, the harmony goes through chords iii and vi, which are chords E minor and A minor respectively. The whole of bar 5 is in chord ii7, which is the seventh D minor chord in the key of C major. This is followed by a D major chord V in bar 6. Together, the chord ii7 in bar 5 and the chrod V in bar 6 form what appears to be an imperfect cadence.
Bars 7 to 9 go through a similar chord progression as bars 3 to 6. The harmony is largely the same. For instance, both the music in bars 3 and 7 go through chords IV followed by V. In fact, not only is the harmony the same, the notes in bars 3 and 7 are actually exactly the same.
Similarly, bars 4 and 8 go through the same harmony - both progress through chord iii followed by chord vi. The harmony in bar 5 is same as that of the first half of bar 9. In the second half of this bar, the music then progresses to a very unique harmony – an F major chord in the upper part over a G major chord in the lower part. I analysed the overall chord to be an eleventh dominant chord, or V11. The music then moves to a seventh C major chord, or I7 chord. These last 3 chords, ii7, V and I7, make up a cadential progression which gives the music a sense of closure.
In the music that follows after, we once again see the use of similar chord progressions as the sections before. For example, bars 11 to 14 goes through the same harmony as that of bars 3 to 6. In comparison, bars 15 to 18 have the same harmonic progression as bars 7 to 10, with the only difference being that the second half of bar 17 is in an ordinary chord V in G major, unlike the more decorated V11 in the second half of bar 9.
Functional Analysis
The harmony in bar 1 appears to have a tonic function. This tonic function goes through an expansion in bar 2, as can be seen from the continued C bass. Thereafter the music seems to have a largely predominant function, until the presence of the dominant V chord in bar 6.
The music from bar 7 onwards has a predominant function. This continues till the V11 chord in bar 9, which clearly has a dominant function. This is followed by a tonic chord with a tonic function in bar 10.
What we see in bars 11 to 14 is similar to that of bars 3 to 6. The chord progression in both instances are the same, and thus we can say that the functional harmony should generally be the same as well.
This is also the case for bars 15 to 18, which have the same harmonic progression as bars 7 to 10. The functional analysis in both instances are largely the same as well.
Phrase Structure and/or Sentence Analysis
The song opens with a 2-bar phrase, something I would call an Introductory Phrase. What we see after this appears to be a simple period. We see an Antecedent Phrase which spans 4 bars, from bar 3 to 6. This is followed by a Consequent Phrase which is outlined in the next 4 bars, from bars 7 to 10. Together, these two 4-bar phrases form a simple period.
The 4-bar phrase structure of this song appears to be quite regular. This can be seen from the second Antecedent Phrase which, like the first Antecedent Phrase in bars 3 to 6, occurs over a span of 4 bars, from bars 11 to 14.
However, we can see a distinct difference in this second Antecedent Phrase. It is sort of linked to the second Consequent Phrase, as can be seen from how the music continues seamlessly to bar 15, which marks the start of the second occurrence of the Consequent Phrase. The second Consequent Phrase is outlined in bars 15 to 18, and together with the previous Antecedent Phrase, these make up the second simple period.
Sunday, November 1, 2009
Saturday, October 31, 2009
The above is an original popular Korean song called “Stand By Me”. It is one of the theme songs in the popular Korean drama serial called “Boys Over Flower”.
The song is in C major and it opens with a 2-bar phrase, something I would call an “Introductory Phrase”. Bar 1 is outlined with a tonic C major chord. The harmony in bar 2 is very unique. It consists of an F major chord with an added G in the upper part, played over a C tonic octave pedal in the lower part. I analysed the overall chord in bar 2 to be that of IVc.
The next section of the song is the “Antecedent Phrase” which spans 4 bars, from bar 3 to 6. The harmony from bar 3 goes through the predominant harmonic structure, with the chords IV, V, iii, vi and ii7, before arriving on the dominant G major chord in bar 6.
The section that follows after is the “Consequent Phrase” which is outlined in bars 7 to 10. The first 5 chords of this phrase go through the exact same chord progression as those of the phrase before, passing through chords IV, V, iii, vi and finally ii7, before going to chord V.
Bar 9, the 3rd bar of this phrase, starts with a chord ii7, a seventh D minor chord in this case. The music of this bar then progresses to a very unique harmony – an F major chord in the upper part over a G major chord in the lower part. I analysed the overall chord to be an eleventh dominant chord, or V11. The phrase ends in bar 10 on a seventh tonic chord.
The 4-bar phrase structure of this song appears to be quite regular. This can be seen from the 2nd Antecedent Phrase which, like the 1st Antecedent Phrase in bars 3 to 6, occurs over a span of 4 bars, from bars 11 to 14. Once again, for the 3rd time in a row, the phrase goes through the same predominant harmony, with the chords IV, V, iii, vi, and ii7, before arriving at the dominant G major chord in bar 14. However, we can see a distinct difference in this particular Antecedent Phrase. It is sort of linked with the 2nd Consequent Phrase, as can be seen from how the music continues seamlessly to bar 15, which is the start of the 2nd occurrence of the Consequent Phrase.
The Consequent Phrase, which is outlined in bars 15 to 18, similarly goes through the same chord progression as the 3 phrases before, and ends on a seventh C major chord in bar 18. This brings the first major section of the piece to a close.
The song is in C major and it opens with a 2-bar phrase, something I would call an “Introductory Phrase”. Bar 1 is outlined with a tonic C major chord. The harmony in bar 2 is very unique. It consists of an F major chord with an added G in the upper part, played over a C tonic octave pedal in the lower part. I analysed the overall chord in bar 2 to be that of IVc.
The next section of the song is the “Antecedent Phrase” which spans 4 bars, from bar 3 to 6. The harmony from bar 3 goes through the predominant harmonic structure, with the chords IV, V, iii, vi and ii7, before arriving on the dominant G major chord in bar 6.
The section that follows after is the “Consequent Phrase” which is outlined in bars 7 to 10. The first 5 chords of this phrase go through the exact same chord progression as those of the phrase before, passing through chords IV, V, iii, vi and finally ii7, before going to chord V.
Bar 9, the 3rd bar of this phrase, starts with a chord ii7, a seventh D minor chord in this case. The music of this bar then progresses to a very unique harmony – an F major chord in the upper part over a G major chord in the lower part. I analysed the overall chord to be an eleventh dominant chord, or V11. The phrase ends in bar 10 on a seventh tonic chord.
The 4-bar phrase structure of this song appears to be quite regular. This can be seen from the 2nd Antecedent Phrase which, like the 1st Antecedent Phrase in bars 3 to 6, occurs over a span of 4 bars, from bars 11 to 14. Once again, for the 3rd time in a row, the phrase goes through the same predominant harmony, with the chords IV, V, iii, vi, and ii7, before arriving at the dominant G major chord in bar 14. However, we can see a distinct difference in this particular Antecedent Phrase. It is sort of linked with the 2nd Consequent Phrase, as can be seen from how the music continues seamlessly to bar 15, which is the start of the 2nd occurrence of the Consequent Phrase.
The Consequent Phrase, which is outlined in bars 15 to 18, similarly goes through the same chord progression as the 3 phrases before, and ends on a seventh C major chord in bar 18. This brings the first major section of the piece to a close.
Sunday, October 11, 2009
The above is an original popular Korean song called “Stand By Me”. It is one of the theme songs in the popular Korean drama serial called “Boys Over Flower”.
The song is in C major and it opens with a 2-bar phrase, something I would call an “Introductory Phrase”. Bar 1 is outlined with a tonic C major chord. The harmony in bar 2 is very unique. It consists of an F major chord with an added G in the upper part, played over a C tonic octave pedal in the lower part. I analysed the overall chord in bar 2 to be that of IVc.
The next section of the song is the “Antecedent Phrase” which spans 4 bars, from bar 3 to 6. Bar 3 consists of an F major and G major chord, bringing the bar to end on a chord V. The harmony goes through the predominant harmonic structure, and goes through chords iii, vi and ii7, before arriving on the dominant G major chord in bar 6.
The section that follows after is the “Consequent Phrase” which spans another 4 bars, from bars 7 to 10. The first 2 bars of this phrase go through the exact same chord progression as the first 2 bars of the phrase before. Bar 9, the 3rd bar of this phrase, starts with a chord ii7, a seventh D minor chord in this case. The music of this bar then progresses to a very unique harmony – an F major chord in the upper part over a G major chord in the lower part. I analysed the overall chord to be an eleventh dominant chord. The phrase ends in bar 10 on a seventh tonic chord.
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