For my latest blog analysis(sorry about being late..), we are flying from korea to erm... england? Anyway, the title of this song is "Just Let Me Say", a popular christian song from the band Hillsongs, one that i love very much because of the meaningful deep poignant words. Anyway here is my analysis.
The progression seems to begin with a lament bass where the chord moves from I-V6-vi7-vi43.
This is then followed by the chord progressions IV-ii7-V-V-V6 which completes the T-PD-D--T where the PD is expanded through chord expansions and moving from the vi-IV-II. The D is also expanded with the V-V-V6 dominant expansion.
The next few progressions follow the similar pattern where it starts of with the lament bass introduction of I-V6-vi7-vi43 but this time ii64 comes first followed by IV-V-V7. This is rather unusual as the convention is where the PD goes from chord vi-iv-ii.
I also managed to do some phrasing and i might have wrote on the paper wrongly, now loking at it again i feel bars 3-6 and 4-7 might be a short 4+4, continued by the next long group which could possibly form a sentence.
Passing note in bar 5 where note moves from A-G-F and in bar 8 in the bass where it moves from C-D-E.
Thats all folks. Thanks for reading.
Joel
2 comments:
Bro are you ok?
1. Hillsongs is Australian. :P
2. I think this piece has a very interesting harmony. It uses a wide variety of chords, over a lament bass, and in these are embedded lots of what I believe to be suspensions (though they may or may not take the form of traditional suspensions we've seen). Haha in fact, in many parts it seems to me that the vocal and bass lines are very similar to 4th species! Perhaps you could try to show some of the wonderful voice leading that Geoff Bullock has used by taking note of individual notes and where they come from/lead to? To give you an example, in bar 5, I think your V6 actually sounds like a V6/4-3 suspension, and..well..I won't spoil any more of the fun for you. *grin*
Very pertinent pointer, Ainsley. Your interpretation of b. 5 is basically correct but note that because the note of resolution G is sounded against the suspended A, it does sound like a iii4/3.
Joel, do follow up the rest and examine how notes are "tied over" (literally or otherwise) to create many of the cluster sonorities.
Re your phrase analysis, it's 4+4 with the first consisting of two subphrases (note that there is no cadence at the end of the first 2-bar subphrase). Given the open-endedness of phrase 2, I suspect this is part of a double period, please check and let us know.
BTW, now that we have clarified in class your idea of marking phrases, you might like to re-do your annotation and upload the amended one.
All said, I am pleased to see that you are basically catching up. Keep it up!
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