(Chord progressions have been indicated on the score)
The harmonic function of the first phrase of the verse:
T – D – T – PD – T – D – T – D – T
It can be simplified to the following:
(T – D – T) – (PD – T) – (D – T – D) – (T)
T – PD – D – T
The second phrase of the verse (Bars 15-22) also follows a similar simplified harmonic function and reflects the typical harmonic phrase model.When it comes to the chorus, this is the harmonic function of the first phrase:
D – T – PD – D – T
However, the Dominant function at the beginning of the phrase is actually an upbeat. So, if we were to take it away, we would still have the T – PD – D – T harmonic function.
The second phrase of the chorus (Bars 37 to 49) uses some substitutes, for example, IV is replaced with ii and V is replaced with iii, but overall the T – PD – D – T structure is still there.
1 comment:
A good first attempt on your own at harmonic analysis.
To refine your analysis:
b. 16 - given the reiterative Bb-F earlier and here, I heard the entire bar as I-I6, i.e. the G as an incomplete neighbour to F, doubled at the 10th (or, harmonically speaking, IV over I).
Please relook at your functional analysis for the first phrase, I believe the mistakes are due to carelessness.
bs. 34-35 is tricky and most unconventional. Bearing in mind the approach suggested for b. 16, can you figure out the structural chords and the non-harmonic tones? (Additional clue: the root movement for the entire phrase is Bb-F-G-C-F-Bb)
After that, you may then tackle the second phrase of the chorus which is by far the most challenging. This may be beyond you at this stage since our analytical approach is still relative new to you; perhaps other course-mates can help here. Anyway, the clue is: think also of applied chords, substitute chords and mixtures. Your T-PD-D-T interpretation is correct, and the upbeat D can be subsumed under the opening T as an expansion element.
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