Fig 1 Fig 2
Don't Cry for Me Argentina
Harmonic Analysis
The typical harmonic phrase model of T - PD - D - T can be observed in this short excerpt. This can be seen from bars 1-7, as shown above in the score. The harmony from bars 1-7 is analyzed as follows:
I - Ib - I - Ib - IVc - IV - IVc - IV - Vb - Vc - V7 - I
T --------------------- PD -------------- D ------------- T
This is the typical harmonic phrase that we have seen in class.
Following this, from bars 8-15, we get to hear the use of a tonic substitute (i.e. vi) in bars 9 and 10, which forms an interrupted cadence. This then brings us to a rather elaborate expansion of the dominant, in the form of tonicizations over bars 11-15, as shown below:
I - Ic - Vb - V - vi - V/V - V7d/V - Vb - V - Vc/V - Vb - V
T D ----------- (T) - D -------------------------------------------
From bar 16-23, we basically see a T - D - (T) - T harmonic phrase, without the PD to prepare the D. The progression is as follows:
I - V - vi - vic - Ib - I - IV
T D (T) ------ T ----------
For the above progression, I interpreted the chord IV as an elaboration of the tonic, and is used as a 'fake tonic/ ending'. This could be used to bring out the deception and lies that are depicted in the story (Evita) from where this song is extracted. It creates a feeling of dissonance (not in the music theory sense), more like a 'it's the end but something's not quite right' feel, which is really interesting.
Phrase Analysis
The phrase analysis will be presented in the score above. I hope that would be of some help. The phrase structures exhibits the use of both sentences and periods. At the same time, they exemplifies the tiered relationships that we have learnt in the first class.
Okay, that's it. Please feel free to comment!
Acknowledgements
Published by Music Plaza Pte Ltd, 1997
Title: Don't Cry for Me Argentina
Track from the movie "Evita"
Performed by Madonna
Composed by Tim Rice/ Andrew Lloyd Webber
Arranged by Jennifer Guai
OP: MCA Music Ltd
SP: EMI Music Publishing Singapore (A div of EMI Group Singapore PTE LTD)
Images were extracted from p.13-14 from the book ' Top of the Charts, Vol. 5' for this online assignment.
2 comments:
Chee Weng, it’s great to see you taking this assignment so seriously and I am happy to find you adopting the RN symbols that we use in class in your revised analysis. Further refinement is, however, still in order. Remember I pointed out the issue about the level of details to be indicated in harmonic analysis last week? In your case here, because you analyzed every single chord in the LH, you actually missed the essential progression that is going on; so in this regard, your earlier analysis reveals the underlying progression better!
Here are some additional pointers to help you refine your analysis:
i. what is the function of the 6/4 chord in bs. 3-4?
ii. is there a cadence at bs. 8-9?
iii. what is the function of the C chord at b. 22?
iv. is the harmonic phrase complete at b. 24?
Hi all,
Apologies for dropping by late to comment.
cw, a very detailed analysis i would say, for the chords and you have managed to bring in the purpose of chords (e.g. creating a feeling of dissonance in this song) and the effects in context to the song - which i did not see it from the 'theorectical' point of view. so well done for that!
Well, I do agree with the chord analysis and harmonic phrase here. Perhaps, i would like share my views on certain pointers Dr. Chong has given.
i. function of 6/4 chords
for the 6/4 chord in bars 3-4, I feel that it serves as a tool to 'weaken' the strength of the chord, like, what we have discuss in our tutorials. This form of permutation in the chord has the effect of creating the 'hanging' feeling when we enter that bar (perhaps in context to this song), before landing on chord IV in it's root position.
(or that is how i perceive it to be..)
ii. Bars 8-9 cadence
V-VI = interrupted cadence?
Or are there any other things to elaborate on?
iii. Bar 22: Function of C chord
From bar 24 onwards, it seems to me that the piece has moved to Fmajor (although not sure what comes after that). Heard a recording of it (http://www.imeem.com/people/MyCt8eD/music/GOKyLB9L/classic_piano_dont_cry_for_me_argentina/), and I feel that it has perhaps, tonicized to Fmajor for a while before going back to Cmajor. Does the C chord, being the fifth of F, serve as an ‘anticipation’ to bar 24? Which also means in F major, there is a ‘V-I’ from C to F?
do correct me if I’m wrong!
iv. is the harmonic phrase complete at b. 24?
Using the impression of Fmajor tonicising that I mentioned previously, if this is true, does it mean that the harmonic phrase model continues to be on the tonic on F? since in this case F will be the tonic temporarily. Also, to add on, since it goes back to C, I would suggest that there still is a tonic-dominant harmonic phrase model from F to C in the ‘Fmajor’ point of view!
I also feel that this piece has quite a number of passing notes used. eg. bar 16 fifth triplet, bar 18 fourth beat and so on. Also, he uses he tends to delay the chords by having 'borrowed' notes before landing on the chord itself - eg. first beat for bars 12 & 19.
perhaps, we could consider the intention of it?
Just my thoughts!
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