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Lucy In The Sky With Diamonds - Modulations
Lucy In The Sky With Diamonds - Modulations
A Common Note F is used across b.22-26 (fig.8) to ensure a smooth transition from Amaj to Bbmaj. Another feature which contributes to the modulation is the C# note rising a semitone to D as the key rises a semitone as well. It serves as a form of preparation so the listener can expect this change.
On the other hand, the second modulation at the refrain (fig.9) does not have any form of preparation like the first modulation. It shifts from Bbmaj to an unrelated key of Gmaj. The change sounds drastic and must have been done deliberately.
A Common Note F is used across b.22-26 (fig.8) to ensure a smooth transition from Amaj to Bbmaj. Another feature which contributes to the modulation is the C# note rising a semitone to D as the key rises a semitone as well. It serves as a form of preparation so the listener can expect this change.
On the other hand, the second modulation at the refrain (fig.9) does not have any form of preparation like the first modulation. It shifts from Bbmaj to an unrelated key of Gmaj. The change sounds drastic and must have been done deliberately.
3 comments:
Hello!
I don't think the modulation is sudden, nor does it lack any preparation. In fact, a G maj chord is already heard in b.34. The only thing is that there is no clear-cut cadence that confirms the establishment of G maj. The composer subtly shifts the Bb to B natutal, which is in preparation for G maj.
I don't you if you guys feel it, but do you think the Em chord to D chord in b.35-36 sounds quite modal or too weak? I was playing around with the music and decided that adding a C# in the bass would make more sense tonally. Now, the chord labels for these 2 chords will be vii(dim7)/V -- V of G maj. But for some reason, C# is not added here!
Hi Jean!
Ok I take your point about Bb to Bnatural as a form of preparation. But when I first listened and came to the "Lucy in the Sky with Diamonds..." part, I thought "Eh why music suddenly skip to next track?"
So, even though there's a bit of preparation, it is not enough to prepare the listener.
Thanks for your comment!
I agree with Joyce that though the B natural at b. 34 anticipating the upcoming G major, its appearance is itself a surprise.
Jean, you are right though to note the striking (Em-D) vi-V progression; I believe it's the parallel fifths that pricked your ears. To introduce a C# would indeed greatly enhance its functionality even though the resultant chord is a vii half-dim 7th. Good compositional/analytical experimentation here.
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