The song I have chosen is "Forbidden Love", the theme for the Japanese drama, "Love 2000".
The piece is in the key of C major.
By and large, this piece is in 2nd species counterpoint. The song is mainly repetitive. The accompaniment is in an arpeggic style.
The part which I have chose to analyze contains a double period (namely antecedent period and consequent period), each period containing an antecedent phrase and a consequent phrase. The consequent period is similar to the antecedent period as it contains some repeating phrases with some modifications. The melody of the consequent period has a thickened texture as compared to the antecedent period as there is playing of notes an octave apart together.
Apart from the phrases in the 2 periods, I have labelled another phrase(bars 58-60) on the score towards the ending. I believe that this phrase is an additional phrase (or "finale") to make the ending of the song sound more complete.
Bars 40-43: vi, vi7(T) - IV(PD) - V(D) - I(T) - V6(D)
This phrase ends with an imperfect cadence, this creates a suspending atmosphere before it moves on to the consequent phrase which comes in like a surprise.
Bars 44-47: vi7(I) - V6/5/V(D) - V - vi(T)
This phrase ends with an imperfect cadence to introduce the consequent period that comes in later. Tonicization occurs in bar 45 due to the change of key to G major.
Bars 48-51: vi(T) - vi7(T) - IV(PD) - V(D) - I(T) - V6(D)
This phrase is a repetition of bars 40-43 with only thickening of the texture in the melody.
Bars 52-60(end): vi(T) - V6/5/V(D) - I(T) - V(D) - I(T)
The piece ends with a perfect cadence. Bars 52-57 is the consequent phrase of the consequent period, while bars 58-60 is the "finale". Bars 54- 60 contain mainly chordal expansion in an arpeggic style and the accompaniment is not present anymore. The ascending motion of the arppegios brings the piece to an end with a chord in the higher register.
I have also identified neighbour notes, suspension, passing note and escape tones, and have labelled them on the score.
2 comments:
Neda,
Please note that this is essentially a homophonic texture, hence the idea of 2nd species does not apply--the LH is basically articulating Alberti bass patterns.
Concerning the last four bars, if we define a phrase as one demarcated by a tonal cadence, how would you interpret its phrase function in relation to what precedes it?
Finally, please clarify your understanding of escapte tones and re-consider some of your identified ETs. You may also wish to use voice-leading indications to better understand some of the progressions and their non-harmonic tones.
One more point: does it sound musical to you to shape each phrase as a s-s-l?
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