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!
![](http://1.bp.blogspot.com/_xs9dhC2J6rU/R9C66xd3LJI/AAAAAAAAAA4/CdfKE3i7oIk/s320/teeth-amy-winehouse-400a071807.jpg)
1 comment:
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!
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