Hi all, welcome to my third music blogging assignment and the song discussed today will be a japanese pop song entitled Ashita Hareru Kana. I managed to get a copy of this score by luck and so i decided to use this song. This song To prevent any copyright issues, instead of putting the video up here, I will provide the link to the video which is attached below, pls check it out! : )
For my analysis, i would like to break this song into a few segments namely,
Introduction Bars 1-4
Verse Bars 5-20
Pre-Chorus Bars 21-29
Chorus Bars 30-52
My analysis of the Verse:
Chord Progression &: I-V6-I- (Tonic Expansion)
Functional Analysis I-ii-V-I- (T-PD-D-T)
I-iii-vi-ii-iv-iii-vi-ii-iv- (See Below)
I-iii-vi-iii-ii-iii6-I- (See Below)
I-iii-II-ii-IV-iii-vi-ii-V-I (T-PD-D-T)
Comments:
The chords identified in yellow above seem to be secondary mixtures and in the part where I did not identify the functional progression, the progression seems rather interesting where it moves from a major tonic to a series of minor chords then back to a major chord again. This produces a minorish quality in this segment of the song which I think the composer waned for the sad effect.
My analysis of the Pre-Chorus:
Chord Progression & : I-IV-V- (T-PD-D-)
Functional Analysis I- vi-ii-V- (T-PD-D-)
I-IV-V- (T-PD-D-)
I-vi-II-vi/ii-V-I (T-PD-D-T)
Comments:
The Pre-Chorus is quite straight forward where the chords generally move from T-PD-D-T. The chord in yellow is again a secondary mixture and there is the use of a tonicized chord to lengthen the PD.
My analysis of the Chorus:
Chord Progression& : I-V6-IV6-V-iii-vi-ii-V- (T-D expansion-PD-D-)
Functional Analysis I-V6-IV6-V-iii-vi-ii-IV/iiib-V/iiib- (T-D expansion-PD-D-)
I-I-I-V6-IV6-V6-iii-vi-ii-V- (T-D expansion-PD-D-)
I-V-IV-V-viio-iii-vi-ii-V- viio/vi - (T- D expansion- PD-D-)
i/vi - iv/vi -I-(T expansion)
i/vi - iv/vi -I ( T expansion)
Comments:
The general pattern of the chorus is T-D expansion-PD-D-T. The D expansion also shows that there is a decending bass line when it occurs. In the fourth phrase, the dominant and the dominant substitute is used to lengthen both the D expansion and the D. The song ends with a tonic expansion using the plagal cadence repeated two times. The second time the plagal cadence repeats, on the score, there is no direct sign to show a tonicization but i choose to see it that way as to conclude the tonic expansion using the plagal cadence.
Thanks for reading and I am awaiting your comments.
