Currently, our previous discussion is on the next page of my profile, and covers the starting wind sounds and the first three actual notes. Those three notes help to establish C# as the tonic. The next set of notes in the flute (G#, B, C#, G#, D#, B) are an expansion on the first set, but, instead of landing on the tonic pitch of C#, it remains unresolved, landing on B. Also notice that the three new notes (G#, D#, B) form a minor triad built on the dominant pitch (the 2nd most important pitch after the tonic, the 5th note in the scale, G# in this case). Recall that dominant chords tend to want to resolve to the tonic. If I had wanted to create even more unresolved tension, I would have used a B# rather than a B. The note a half step below the tonic has a strong tendency to want to move to the tonic, since it's so close but not quite there. I chose not to do this because this part of the piece is still quite floaty/ethereal, and I didn't want to create too much tension yet.
Alright, yeah, I was gonna go further, but laziness. So that I know how to progress in the analysis, are there any particular aspects of the piece that you're more interested in than others (i.e. melody, harmony, rhythm, timbre)?
May 01 2012 01:21 AM