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Theory & Analysis
The Theory & Analysis page is the spot for general music theory questions, and more in-depth analysis of pieces.
 
 

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Re:Harmonic Analysis: Waters of Marchsubmitted:
2019/08/12 08:40:01
revised:
2019/08/13 12:34:09


Briefly, this song is about the lyric, not harmonic sophistication. That's the reason why the harmony is in a quasi loop. It basically serves as background 'noise' for the lyric.

In the business, this song would be considered a 'novelty' number.

The interlude at bar#66 introduces new harmonic material for the 1st time (see CDR).
Bars#66-68 is a SEGUE to move us back to the harmony of the opening verse.

Despite the fact that we have new material, the music continues to return to the (Tc) by the same route ... (-6) or (-7). How music leaves and returns to the tonal center is an important inflection point.

Bar#73 introduces a new COLOR ... A-lydian augmented ... a..b..c#..D#..f..f#..g#

There are (125) bars in the score, the music spends ~30% of the time in the tonal center (Tc).

............................... .............Waters of March (CDR)
............ ....... b <---------------------------------------------------> #
................+4 .. -2 .. -6 .. -3 .. -7 ..4 .. (Tc) .. 5 .. 2 .. 6 .. 3 .. 7 .. +4
Bar#66)........................................................................Eb
67-68)................C
69).........................................A
70)......................................................B
71)............................G
72)......................................................B
73)..........................................A+
74)................................................E
75).............................G
76)......................................................B
77)..........................................A
78)......................................................B
79)..............................G
80)......................................................B















 
 motherlode
  
Re:Harmonic Analysis: Waters of Marchsubmitted:
2019/08/12 21:22:48
revised:
2019/08/13 19:00:48


A general comment on the segue at bar#66.

The chord is 'F7' voiced Eb, c, f, a. The most important note in any chord voicing is the TOP note, the 2nd most important note is the BOTTOM note.

The lydian tonic of 'F7' is 'Eb'. There is no 'a' in the key of 'Eb', so that means that the 'a' is out of scale. So what we have is an (+4) supported by the tonic.

The way harmony is taught most musicians would relate the 'a' to it's chord ... F7' ... not to it's lydian tonic.

In addition, any out of scale top or bottom note adds tension ... not the inner tones mind you. The inner tones are there as support to the top and bottom notes. This is what is known as chord quality.

Tension can be used to great advantage. For example, all symmetric chord movements are in a state of constant tension, because they are atonal.

A composer is only free to chose the top and bottom notes. The chord quality is directly determined by those choices.

There's no such thing as wrong chord ... only wrong voicing.

















 


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