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
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1 comment:
Hi Grace,
I actually prefer your original commentary (dated 31 Oct) which is more succinct; your revised commentary is much longer but adds little to the original content. Your analysis is basically correct though I would have liked to see some evidence of the voice-leading analysis. Here are a few details I would like to add:
i. Bar 2 is indeed a neighbouring 6/4 over I (resulting in a IVc). The tied-over G creates a 5-4 suspension, the 2nd-beat G is then a neighbour-note.
ii. The dominant chord in b. 3 is worth discussing. Taked on its own, it appears as a V6/4 but in context, one may hear the functioning bass to be the downbeat F, turning it into a V4/2 which then leads logically to the Em chord in the next bar. (Notice that bass D is registrally higher than F whereas this F connects smoothly to the bass E in the next bar?)
iii. The expanded PD to D in bs. 3-6 involving iii-vi-ii7-V is based on the circle of fifths.
iv. Bs. 7-10 is not based on exactly the same progression as bs. 3-6, the important difference is that it further leads to I, ending with a perfect cadence. Now, in maintaining the four-bar length, the harmonic rhythm in b. 9 is therefore twice as fast as bs. 5-6.
v. Your V11 in b. 9, in voice-leading terms, results from a 4-3 suspension (CB) and suspended 9 (A resolving to G in the next bar) over a V7. The fourth-beat C is, on the other hand, an anticipation. See how the same note in different context takes on different harmonic functions? In this connection, we may additionally point out that the 2nd-beat C is a chordal seventh of ii7.
vi. The guitar chord symbol in b. 10 may be CM7 but in classical terms, the B is not a chord tone but a lower-neighbour to C, hence the chord is simply I.
vii. Re your rhythmic analysis, please note that what you described as metrical displacement is really syncopation or some form of rhythmic displacement. Metrical displacement refers to a certain musical unit that has been shifted metrically in a subsequent instance. For example, if the “stand by me” melody here begins on the 3rd beat instead of the first, we can say that the melody has been metrically displaced.
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