Winter Wonderland - Results

Participant-Judges

Scores

The up-to-date average score
     of the Technical evaluation is3.5points, and
     of the Artistic evaluation is3.3points, for a
           Total score of 6.8 points.

Comments sent with the Scores

Staff-Judges

Analysis - Comments

General
Form=AABA-Back to the music page
Level 0=2 + 3
Bar-lines placed atLevel -1, 2 bars per cell, 8 bars (4 cells) in eachA(orB).

Melo-rhythm
A= 2x (p2Mp2F--)pFpF K3M(forcode)
     Lots ofsplit cells-
          2 Masculine split cells (withF--on the Beat),
               the firstF--lightly fusing the 2 cells together,
               the secondF--acting asLanger Hingefor the wholeA.
          1 Feminine split cell - followed by the Kinetic / Masculine cell to close theA.
The Symmetry (exact repetition) between the 2 first split cells seems to indicate
     that each cell is an entity, part of theMI-MI-MAof the completeA, and
     that the double snappedF--s are not strong enough (or meant) to fuse largerentities.
B=K3F-- K3M K3F-- pK3M
     All Kinetic cells - paired off Feminine, Masculine, Feminine, Masculine.
The Entities, and the Symmetries, are quite evident here -
     2 Entities of 2 cells each,
     Off-beat Symmetry between the four cells,
          by no means excessive (the Melo-lines are different in the fourth cell),
          but more than in theA.
Nice job -add 1.5 points, especially for the MI-MI-MA of theA.

Melo-harmony
A=M5324(forcode)
No problem or complication of Entities or Symmetry here,
          we are dealing with thesimplest possible 4-cell chord pattern, however,
     the DOMINANT comes in too early - it should start at the next bar.
B=M1*1*11
No problem or complication of Entities or Symmetry here either,
     we are dealing with a chord pattern which repeats each cell, common practice for a bridge,
          the most popular beingM7711(as inSanta Claus Is Coming To Town), however,
     again the DOMINANT comes in too early -
          The 4 bars in E major (at the beginning) are in thedominantized shadowof the DOMINANT,
                    producing a bridge which is on the DOMINANT all the way through.
               Whenever a bridge goes to theANTE-3(dominantized or not),
                    it is always at the very end (on the last Beat), possibly followed by the DOMINANT itself,
                         not in the middle of the Bridge, which is too soon.
          The chord pattern ofBshould bem4*4*-M11
               with first four bars in Eb major, which is the shadow of the dominatized TONIC, Cm.

It is interesting to illustrate this by replacing each key involved with just one chord (its TONIC),
          as if we were zooming out to get a better over-all view.
     1. This is what happens if we go to Eb (major) -
          it is simply a chord of Cm⁺⁶(on which the G is doubled) which progresses normally to G⁷,
               note theCOMMON TONEG held in the Tenor voice.
     2. This would be impossible if we went to E (major or minor) -
               we would feel a definite cadence as if the chord of C were a chord of Am⁺⁶.
          The normal procedure is to reach E (or Em) by B⁷, making a strong cadence,
               and a G⁷is often inserted as a short pick-up to come back to C.
The early DOMINANT in theAis impardonable,a half-point lost here,
     has any arranger corrected this ?
The E major section is a common mistake, buta half-point lost anyway.

Preceding a Da Capo by an ANTE-3
Here is a short list of examples in which the ANTE-3 (Dominantized or not)
     acts as a shadow of the DOMINANT and precedes the TONIC chord at a Da Capo,
          either at the end of a Development section or of a Bridge,
               or possibly in the center of a piece (or of anAsection).
     1. BACH -Two-part Invention No. 6 in E major, bars 41-42
     2. BEETHOVEN -String Quartet, Op. 59, No. 2, 4th movement, bar 9
     3. CHOPIN -Etude No. 1 in C major, Op. 10, bars 47-48
     4. DEBUSSY -En bateau, from thePetite Suite, bars 13-16
     5. KID ORY -Muscrat Ramble, bar 8
     6. ERNO RAPEE -Diane, bars 15-16

Melo-lines
A= 2x (Orbit 0-Orbit 0)Orbit 1-Orbit 0,Orbit 1-Orbit 1(forcode)
No problem or complication of Entities or Symmetry here,
     we are dealing with only one 4-cell Entity with very little Symmetry,
          the first two cells remaining on theCOMMON TONEG, and
          the last two cells on a descending "winner" scale which closes the Entity,
               Symmetry being added by repeats of theA. However -
     In bars 5 and 6, there is a conflict between the Melo-rhythm and the chord pattern of the Melo-harmony -
          the split cellpFpFhas two rebounds,
               on each of which aNon-Chordal Toneshould preferably resolve to its Chordal tone,
                         decreasing the tension, and the opposite happens -
                    the "B" is a Chordal Tone, followed by the "A", a Non-Chordal Tone, and
                    the "G",Orbit 0, is followed by the "F"Orbit 3, a higher tension rather than a lower one.
          We should have anANTE-1rather than a DOMINANT here
               with aM5384 chord pattern(as inAmor, Amor) on which -
                    the "B" is a Non-Chordal Tone, followed by the "A", a Chordal Tone (on Dm7), and
                    the "G" is a Non-Chordal Tone, followed by the ,"F" a Chordal Tone (on Dm7-5).
      A half-point certainly lost here.
B=Orbit 3-Orbit 2withOrbit 0-Orbit 1,Orbit 3-Orbit 2withOrbit 0-Orbit 2
      Orbit 3-Orbit 2withOrbit 0-Orbit 1,Orbit 1-Orbit 1withOrbit 0-Orbit 1.
No problem or complication of Entities or Symmetry here -
     we are dealing with only one 4-cell Entity,
          with considerable Symmetry between the Off-beats of the first three cells.
     The Melo-lines of the bridge are fine, and
     the melodic contour, with its jumps of sixths, constantly using two lines,
          is a pleasant contrast to the descending scale of theAsection.
               The problem, as we know, is in the Melo-harmony.
     As far as the Melo-lines are concerned -1 point added here,
          especially with the different lengths of Entities, see below.

Review of Entities
In theA,
     Melo-rhythm has 3 entities, a MI-MI-MA,
     Melo-harmony has 1 entity,M5324
     Melo-lines has 1 entity,Orbit 1-Orbit 1, at the end
          the Melo-rhythm is different from the other two.
In theB,
     Melo-rhythm has 2 entities, 2 cells each,
     Melo-harmony has 4 entities,M4*4*11
     Melo-lines has 1 entity,Orbit 1-Orbit 1, at the end
          the three are different.

New look/sound



This is what the suggestions would look and sound like.
In order to compare this new version with the original version,
you can click to hear atypical arrangement.

Scores

In the technical evaluation -
     3 half-points were lost, 5 - 1.5 = 3.5
In the artistic evaluation -
     2.5 points were added.
Total score = 6 points
With the suggestions, the new look/sound version would be awarded 7.5 points.


Double Quality Control
The first Quality Control was our evaluation of the piece.
The second Quality Control is your evaluation of Analysis,
     did you find it convincing, valid, and fair?
           Let us know, we will print your comments.

Comments and Questions after reading this Revised Page

It really "flows" better, less brutal. Bravo !

Thank you. We don't expect eveyone to be as kind.

The E - Eb change in this song was completely new to me. I haven't yet fully digested it. So I hope we see more "new" things like these, and get help and advice on how to analyse the "endless" variety of songs in a consistent and logical way. I' m looking forward to the next song.

You are the first to "digest" the "E - Eb change" but you certainly won't be the last. Take your time and let us know if you have any questions.

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