Continuing my analysis on The Rainbow Connection ......
This section is directly before the one in my previous posting on the same song. The last bar of this passage is the first bar of the previous passage.
Bars 1-8 has a darker feel than the rest of the music, before and after. The music before this section sounds more hopeful and positive. However, this section sounds more lonely. This could be due to the Dmaj7 chord used followed by the G#m chord, which gives the music a dreamy, lonely sort of feel. I wonder how this G#m is related to the key of A maj. I'm not even sure if the key here is still in A maj. Although these 8 bars have a totally different feel than the following bars, it has been effective in creating the mood, especially giving more hope to the music when the beautiful sequence is heard in b. 9-12.+picture.JPG)
I think the first 4 bars is an example of hemiola, both in terms of melody and rhythm. The way the melody moves seems like its in 2/4, but given the way the accompaniment is treated, the music feels like its in 3/4. Perhaps this is also a way in which the lonely mood is created.
There is a beautiful sequence in b. 9-12. The sequence is not exactly the same in terms of the melody, neither is the harmony. However, the magical moment comes with the introduction of that F#7 chord in b.12. I wonder why this is so.
This section is directly before the one in my previous posting on the same song. The last bar of this passage is the first bar of the previous passage.
Bars 1-8 has a darker feel than the rest of the music, before and after. The music before this section sounds more hopeful and positive. However, this section sounds more lonely. This could be due to the Dmaj7 chord used followed by the G#m chord, which gives the music a dreamy, lonely sort of feel. I wonder how this G#m is related to the key of A maj. I'm not even sure if the key here is still in A maj. Although these 8 bars have a totally different feel than the following bars, it has been effective in creating the mood, especially giving more hope to the music when the beautiful sequence is heard in b. 9-12.
I think the first 4 bars is an example of hemiola, both in terms of melody and rhythm. The way the melody moves seems like its in 2/4, but given the way the accompaniment is treated, the music feels like its in 3/4. Perhaps this is also a way in which the lonely mood is created.There is a beautiful sequence in b. 9-12. The sequence is not exactly the same in terms of the melody, neither is the harmony. However, the magical moment comes with the introduction of that F#7 chord in b.12. I wonder why this is so.
3 comments:
Listen/play again to see if it sounds musical to treat the mentioned 4 bars as hemiolic.
Hey Jean!
I think probably what contributes to that special moment has something to do with the chord progression, which is not what we as listeners would expect.
Because straight after hearing bs 9-10 was a repetition of that arpegic opening motif at a tone higher.. I would expect RH to continue with A# B (at b. 12), but it happens that the entrance of A# was delayed by a beat... so when the note finally arive, the 'moment' is created
What do u think?
Oops, now that I've played the few bars again, I don't think it's appropriate to treat then as hemiolic. The dance-like, lilting melody is still strongly felt.
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