Common tones
Interestingly, this piece modulates entirely through the use of common tones. Modulation occurs only in the introduction, the bridge and the last phrase of the final chorus.
In the introduction and the bridge, the piece modulates between C major and A-flat major but the pivot notes for the common-tone modulation differs in both sections. In the introduction, the tonic of C major (C-note) acts as the pivot note while in the bridge, the leading note of A-flat major (G-note) acts as the pivot note instead. The composer does it very effectively and seemlessly, making these sections sound tonally fluid. More will be discussed in the harmonic analysis.
For the last phrase of the final chorus, the piece modulates to its Neapolitan (flattened supertonic) key. This is done using a common-tone Ger
6
5 . The augmented 6th chord can enharmonically respelt as a V7 of D-flat major, thus acting a pivot chord for this modulation.
Such a modulation usually occurs during the final chorus of Chinese pop songs. As such, it also signifies that the music is coming to an end. This is a common phenomenon in Chinese pop songs, especially those with rock elements, as it literally ramps up the intensity of the music.
Some songs go to the extent of modulating twice in this manner at the end. For example, in the song 《真心英雄》 (translated as “True Heroes”), a song sung by 成龙 (Jackie Chan), 李宗盛 (Jonathan Lee) , 周华健 (Emil Chau) and 黄耀明 (Anthony Wong) in a charity show, such a move is justified as it effectively roused the (live and television) audience, in attempt to garner more telephone donations.
Dissonances
As with most pop songs, this piece makes use of extended tertian chords. The 9th-chord is used more frequently. It appears in every section except the bridge.
The dissonances are always prepared (either by syncopation or approached by step) though the preparation may occur is a different voice. Furthermore, dissonances do not always resolve (e.g. bar 26³ and the final bar).
Bassline
The piece generally has a very smooth bassline. This is achieved through the use of chromatic harmonies (e.g. #iv° in bar 19³) , passing
6
4 s or
4
2 s.
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Wei Xun, do check through your RN analysis for careless mistakes.
ReplyDeleteYes, jacking up the key by a semitone is a common ploy in pop music.
Reconsider your #ivo
Finally, in this song, it would be helpful to distinguish between tonicization and modulation, the former reveals the underlying larger harmonic structure within the governing key.
Eh...sorry for the careless mistake. It should be a vii°/V instead. Had tt in mind but I's too caught up with the chromatic bass-line!
ReplyDeleteOn that note, the piece makes use of the lament bass, omits the V6 and overshoots with the vii°/V (to tonicize the dominant).