Overall Structure
Introduction -- Verse -- Chorus -- Verse
Form
Ternary form --> ||:A:||B A1 ||
Chord Progression
Introduction: Am F E Am x2
Verse (A): ||: Am E F Dm E Am G C Dm C/E E E+ F Dm E Am :||
Chorus (B): F C F C Bb F E Am E F Dm E Am
Verse (A1): G C Dm C/E E E+ F Dm E Am
Roman Numeral and Functional Analysis
Introduction
Roman Numeral: Am: i V VI IV V i
Functional Analysis: T-PD---------D-T
Verse
Roman Numeral: Am: i V VI IV V i CM: V I ii I6 Am: V VI iv V I
Functional Analysis: T-D-------------T-------D-T-PD---------D-------------T
Chorus
Roman Numeral: FM: I V I V IV I Am: V
Functional Analysis: T- D-T- D------T------D
Verse
Roman Numeral: Am: i V VI IV V i CM: V I ii I6 Am: V VI iv V I
Functional Analysis: T-D-------------T-------D-T-PD---------D-------------T
Phrase Structure
The verses are essentially examples of 'Simple Period'. Bars 1-4 of the verse is the antecedent phrase, while bars 5-8 is the consequent phrase.
Sunday, October 25, 2009
Analysis 'Castle on a Cloud'
Posted by the random boy at 4:27 PM
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3 comments:
Hey JJ,
This song is pretty awesome. Les Mis songs all are anyway. :D The melodic line is pretty flowy and have quite little leaps, so there’s this floating like clouds feeling to it... Especially at the ‘lady in white’ part, the arpeggiated LH enhances it. Plus at that point, it modulates the F major, which sounds brighter than Aminor, so maybe there’s some elements of word painting in it.
Anyhow, I think the wind chime and finger cymbals heard at the beginning of the song fits the song pretty well. The use of just clarinets and possibly a bassoon at the very beginning shows a contrast in tone color with the part when the voice comes in (with the perhaps marimba?).
I would say that the thematic material in this piece would be quaver semi semi quaver quaver. A rather regular rhythm, compared to some of the other songs.
And... A variation of the question i asked you the other time, why E+?
oh no it looks kinda AAI101ish.
Hi Samuel,
This number is in song form: AABA, most decidedly not ternary. What you took to be the chorus is really the B phrase. I find the phrase rhythm rather interesting. Usually, song form pieces are 8+8+8+8. Here, it appears to be 8+8+4+8, but when you factor in the alternation between triple and duple meter in the A phrases and quadruple meter in the B phrase, the difference isn’t so great after all.
By the way, the opening A is a double period—each of the two-bar phrase has a standard tonal cadence.
For the harmonic analysis, note that the opening i-V-VI is a T-D-(T).
(Celestine, the E+ indicates an E augmented triad; in functional terms, the C-note can be heard as anticipating the chordal 5th of the F chord that follows.)
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