Sorry for the late posting. : ) Not sure what had happened, as when I composing this post. The two pages should be placed side by side but when I published it, it became page 2 on the top and page 1 below. Will retify it ASAP. Sorry again. :(
My analysis for Tong Hua
I chose this song as I was very impressed by one of my students during my teaching days who sang it for us during one of our choir practise. He is very talented. Getting back to work, for my analysis, this piece is in G major. As you can see I have identified the S - S - L, sentecnces cause when I tried playing and singing it and it does sound that way.(That's just my view, not too sure)I think it was quite obvouis that the sentence 1 and 2 are symmetry as the structure and the chord progression are similar. Sentence 3 and 4 are also symmetry. At bar 13 and 17, I think the D sharp (E minor) is an indication for tonicization as it return to the original key at the immediate bar.
That's all for now. Will get back again. Thanks.
4 comments:
Hello Amy! I'll start my comments soon! Nice song!
Hello! Alrighty, I'll start off with the phrase analysis. Basically I do agree with the your phrase analysis of the song but I was just wondering if the line ‘你哭着对我说,童话里都是骗人的’ cause if we disregard the quaver rest it does seem like the note before that does not want to end but carry on forward so I was wondering the line that I typed out could make one phrase (so it makes 2+2) instead and similarly with the next phrase as they are kinda similar and repeated. Just wondering! The phrase markings for the chorus kinda fits when I sing it out though I find it rather choppy.
The harmonic analysis seems correct but I may have missed out on certain parts due to my lack of judgment since I'm still trying to grasp the technique. I do agree with the tonicization at bar 13 as it seems to have deviated from the original key.
I hope I didn't miss out anything! The song made me feel like KTV-ing!!
Amy, the sentence structures you've identified in the verse are basically right. Anneson, your interpretation of the line singled out is not really an alterntive reading--what you are noting is a surface modification to what is indeed a sentence structure. I do agree, however, that the sentence structures in the chorus are problematic. In fact, if you use our more strictly defined idea of a phrase, there are even fewer phrases present.
The tonicization is vi is correct but note the presence of a D-natural before the D#, what does this mean? There is another tonicization (apart from that of vi), can you find it?
Can you make sense of the functional dimension at bs. 28-29? Listen to its overall effect; if you were to pare it down to just two chords, what would they be? These should reveal the harmonic function(s).
Finally, Amy, please check through your analysis--type of chords must be consistently reflected, all suspensions must be reflected too.
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