World of the Music

Here is the comment. I just copy and paste here.

Hi Wan Xin,

For some reason, I could upload my comments on your blog, so here they are for you:

You've identified the periods and sentence structures correctly, except for the double period, which sounds more like a varied repetition of the preceding simple period. Note too that, under your first point on "Phrase Structure", the word 'sequence' is wrongly used. What I think you are wanting to point out is that it is a parallel period as opposed to a contrasting one. (Please refer to your textbook for definitions if need be.)

The opening tonic expansion involves a double-neighbour elaboration: 8-7-8-9-8 (Clara, given these n-n's, we normally do not then regard the G as a pedal note.) At bs. 5-6, 8-7-8-9 is counterpointed by 4-3-4-3 in the tonic expansion. Note that when the harmony changes to vi, the elaboration becomes 3-2-3-4-(3), can you work out what it is when the harmony then changes to IV and eventually to V?

As for the suspensions, Clara has correctly pointed out a couple. Note, however, that the F# in b. 25 is not a suspension; it is actually a p-n between G and E, introduced at the end of b. 24 but is suspended over into b. 25. This illustrates the idea of dissonance resulting from rhythmic displacement (imagine the two F# being tied) that can be traced back to 4th species counterpoint. (Clara, the tie itself is not a preparation for suspension, it is the consonant note retained to create the suspension that constitutes the preparation.)

Finally, Wan Xin, you are right to remark that the hypermetric organization is generally regular here, since all except one of the phrases are 4-bar long. Nonetheless, Jay Chou introduced an element of interest for the chorus. Notice that all the 4 phrases in the verse begin with either a semiquaver anacrusis or at most a 3-quaver one; we therefore hear the hypermetric downbeat very easily. The chorus phrases actually start with an anacrusis that is more than half a bar long, almost bringing the hypermetric downbeat forward by half a bar. Whether one hears this hypermetric shift, there is no denying that on the surface, the chorus appears to enter earlier than expected. Turning now to the exceptional phrase (bs. 32-37), please note how the phrase is extended by one bar.

Hope the analytical perspectives you’ve been exposed to in AAI 182 has helped you better appreciate some of the nuances in the pop songs you enjoy, and perhaps inspire you to compose some yourself.

That's all from my email. Thanks, Mr Eddy. Hope to see you around in NIE as I will become a teacher. I am a MOE Teaching Award Holder. :)

Thanks again.