![]() Essentially, section two is one giant transition/musical journey which leads into section three (more on this later).įrom bar 71 to 78, F and C are raised, prompting the key of D major. leaving), and the uncertainty of what comes next. In bar two there is a shift in key and a hint of the unknown, similar to section two, which reflects the narrator’s shift in their relationship (i.e. 60-90) as both are filled with a sense of uncertainty. Secondly, section one contains most of the lyrics, and the lyrics are set to the melody of bar one. Firstly, it is without a doubt in B major, which section one is in for the most part. For instance, the first bar represents section one of the piece (mm. In essence, each bar of the first three bars foreshadows one of the piece's three main sections. In bar two, A and G become natural (or to some, a B major-minor), proposing an unknown key and a possible modal change suggesting a Phrygian mode before being interrupted by bar three with a C major descending triad suggesting a Neapolitan chord relative to B major.
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