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Thursday, March 06, 2008


Because this song is composed of the sections AABA, it is close to the rounded binary form of classical music but is actually a quarternary form. The BA section is not repeated, therefore it does not qualify as rounded binary. However, the whole piece is repeated as is indicated by the presence of a second verse. The harmonic analysis of measures 13 to the end is as follows:

m. 13: V7
m. 14: I
m. 15: I, V6, VI6-5
m. 16: V7/V, Vadd6, ii43
m. 17: I64-53

To create contrast in the bridge section, Foster uses different rhythmic patterns. He also varies the accompaniment rhythmically. He also includes a half cadence at the end of measures 12-13 to change it up a bit.

Because of the monumental lack of text in this week's blog, I decided to supplement it with the ever so lovely Amy Winehouse. Enjoy!

1 comment:

Scott said...

The whole repetition means the song is strophic, with each strophe as a quaternary form. M. 17 is V64-53 I. Don't forget to talk about performance ideas, and how the rhythms, harmonies, and form inform your emotional impressions of the song.

She definitely won't go to rehab!