-The entire first section of verse 1 from b.5-19 (fig.4a&4b) can be seen as a T Exp. It then ends with a T Sub in b.20.
-In the Bbmaj section from from b.24-35 (fig.5), the repeating note D in the melody line forms an inverted pedal. This section can also be taken as a T exp.
-The refrain section (fig.6) comes as a surprise as it sounds distinct from the rest of the song. It is completely tonal and makes use of only the primary chords I, IV, V. This is to emphasize the theme which is 'Lucy in the Sky with Diamonds'.
-This song ends in an interesting way. (fig. 7) Initially I simply thought it ends curiously on a PD. However, I realised it actually ends on T of Amaj, which is the first chord of this piece. There is no resolution here. This is also a common practice in pop music.
3 comments:
Good observation, Joyce, noting the 'alto' line of the introductory compound melody migrating to become the bassline for the opening of the verse section. Note, however, that this bassline resembles the (semi-chromatic) lament bass descent except that its harmony is unconventional, not least because it ends not with V but I6/4 -- a most unusual Tonic Expansion (if you regard it such).
The vi at b. 20 is also interesting. I presume it's the closing tonic in the melody which led you to hear the vi here as a tonic substitute.
For Fig. 5, I'm afraid I don't hear it as a T expansion. It sounds more like a series of chords linked by the common tone D (with a neighbour C at b. 26) but not functioning in the conventional manner: I - V9/V - iii6 - I.
The closing "Ah" is indeed surprising. But, note again the unusual progression from V7 to V to V/V.
Hi Dr Chong,
Refering to your comment:
“Note, however, that this bassline resembles the (semi-chromatic) lament bass descent except that its harmony is unconventional, not least because it ends not with V but I6/4 -- a most unusual Tonic Expansion (if you regard it such).”
So this bassline can be called a lament bass? Please correct me if I’m wrong but I had the impression that lament basses descend from the Tonic to the Dominant, which is not the case here so it is not considered as a lament bass.
Yes the Tonic note ‘A’ in b.20 made vi sound like a Tonic substitute to me.
As for the closing 'Ah', I agree that the final V/V is tonicizing Amaj, which is the key established at the start.
Thanks.
Having a “good melodic line” as one of our 4 aesthetic goals, it is interesting that the melody in b.24-35 (Fig.5) is mostly a repeated note D but it is not boring and has the flow. Guess this is to do with the underlying chord progressions that we hear.
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