tag:blogger.com,1999:blog-82996709389312276742011-04-21T11:31:12.133-07:00Nedahttp://www.blogger.com/profile/02497382447098701938noreply@blogger.comBlogger11100tag:blogger.com,1999:blog-8299670938931227674.post-15715323303451720292008-09-26T08:32:00.000-07:002008-10-09T05:14:06.197-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="FONT-FAMILY: courier new" href="http://3.bp.blogspot.com/_Au6Ipb_KEXc/SN0PUBpz2JI/AAAAAAAAAB8/SG_ewY4o_FE/s1600-h/forbidden+love+1.jpg"><img id="BLOGGER_PHOTO_ID_5250369577299466386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_Au6Ipb_KEXc/SN0PUBpz2JI/AAAAAAAAAB8/SG_ewY4o_FE/s400/forbidden+love+1.jpg" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="FONT-FAMILY: courier new" href="http://3.bp.blogspot.com/_Au6Ipb_KEXc/SN0PUgu1TgI/AAAAAAAAACE/yABIxwqQodI/s1600-h/forbidden+love+2.jpg"><img id="BLOGGER_PHOTO_ID_5250369585642032642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: pointer; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_Au6Ipb_KEXc/SN0PUgu1TgI/AAAAAAAAACE/yABIxwqQodI/s400/forbidden+love+2.jpg" border="0" /></a> <style> <!-- /* Font Definitions */ @font-face {font-family:SimSun; panose-1:2 1 6 0 3 1 1 1 1 1; mso-font-alt:宋体; mso-font-charset:134; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 135135232 16 0 262145 0;} @font-face {font-family:"\@SimSun"; panose-1:2 1 6 0 3 1 1 1 1 1; mso-font-charset:134; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 135135232 16 0 262145 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:SimSun;} span.blsp-spelling-corrected {mso-style-name:blsp-spelling-corrected;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><br /><p class="MsoNormal" style="COLOR: rgb(255,255,0);font-family:georgia;" ><span style="font-family:georgia;"><span style="COLOR: rgb(255,153,0)">The song I have chosen is "Forbidden Love", the theme for the Japanese drama, "Love 2000".</span><br /><br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,255,0);font-family:georgia;" ><span style="font-family:georgia;">The piece is in the key of C major.</span></p><p class="MsoNormal" style="COLOR: rgb(255,255,0); FONT-FAMILY: georgia"><span style="font-family:georgia;"><br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,255,0);font-family:georgia;" ><span style="font-family:georgia;"><span style="COLOR: rgb(255,255,0)">By and large, this piece is in 2<span id="SPELLING_ERROR_0"><span class="blsp-spelling-corrected">nd</span></span> species counterpoint. The song is mainly repetitive.</span><span style="COLOR: rgb(255,255,0)"> </span>The accompaniment is in an arpeggic style.<br /><br />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.<br /><br />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.</span></p><p class="MsoNormal" style="COLOR: rgb(255,255,0); FONT-FAMILY: georgiafont-family:georgia;" ><br /><?xml:namespace prefix = o /><o:p><span style="font-family:georgia;"></span></o:p></p><p class="MsoNormal" style="COLOR: rgb(255,255,0); FONT-FAMILY: georgia" face="georgia"><span style="font-family:georgia;"><o:p>The antecedent and consequent phrases in the piece are also considered sentences because of the S-S-L phrasing involved</o:p>. The phrase structure is mainly 1+1+2.</span></p><p class="MsoNormal" style="COLOR: rgb(255,204,0); FONT-FAMILY: georgiafont-family:georgia;" ><span style="font-family:georgia;"><br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0);font-family:georgia;" ><span style="font-family:georgia;">Bars 40-43: vi, vi<span style="font-size:78%;">7</span>(T) - IV(PD) - V(D) - I(T) - V<span style="font-size:78%;">6</span>(D)<br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0);font-family:georgia;" ><span style="font-family:georgia;">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.</span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0);font-family:georgia;" ><span style="font-family:georgia;"><br /></span></p><p class="MsoNormal" style="COLOR: rgb(102,255,153);font-family:georgia;" ><span style="font-family:georgia;"><span style="COLOR: rgb(255,153,0)">Bars 44-47: </span><span style="COLOR: rgb(255,153,0);font-size:100%;" >vi</span><span style="COLOR: rgb(255,153,0);font-size:78%;" >7<span style="font-size:100%;">(I)</span> </span><span style="COLOR: rgb(255,153,0)">- V</span><span style="COLOR: rgb(255,153,0);font-size:78%;" >6/5</span></span><span style="COLOR: rgb(255,153,0);font-family:georgia;" >/V(D) - V - vi(T)<br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0);font-family:georgia;" ><span style="font-family:georgia;">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.</span></p><p class="MsoNormal" style="COLOR: rgb(0,204,204); FONT-FAMILY: georgia"><span style="font-family:georgia;"><br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0);font-family:arial;" ><span style="font-family:georgia;">Bars 48-51: vi(T) - vi<span style="font-size:78%;">7</span>(T) - IV(PD) - V(D) - I(T) - V<span style="font-size:78%;">6</span>(D)<br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0);font-family:georgia;" ><span style="font-family:georgia;">This phrase is a repetition of bars 40-43 with only thickening of the texture in the melody.</span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0); FONT-FAMILY: georgia"><span style="font-family:georgia;"><br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0); FONT-FAMILY: georgiafont-family:georgia;" ><span style="font-family:georgia;">Bars 52-60(end): vi(T) - V<span style="font-size:78%;">6/5</span>/V(D) - I(T) - V(D) - I(T)</span></p><p class="MsoNormal" style="COLOR: rgb(255,153,0); FONT-FAMILY: georgia"><span style="font-family:georgia;">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.</span></p><p class="MsoNormal" style="FONT-FAMILY: georgia"><span style="font-family:georgia;"><br /></span></p><p class="MsoNormal" style="COLOR: rgb(255,255,0); FONT-FAMILY: georgia"><span style="font-family:georgia;">I have also identified neighbour notes, suspension, passing note and escape tones, and have labelled them on the score.</span></p><p class="MsoNormal" style="FONT-FAMILY: georgia"><br /></p><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8299670938931227674-1571532330345172029?l=da-melody.blogspot.com' alt='' /></div>Nedahttp://www.blogger.com/profile/02497382447098701938noreply@blogger.com2