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Participant Judges

Scores

The up-to-date average score
     of the Technical evaluation is3.6points, and
     of the Artistic evaluation is2.7points, for a
           Total score of 6.3 points.

Comments sent with the Scores

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Staff Judges

Analysis - Comments

General
          - the Canadian National Anthem
     Original French words by Adolphe-Basil Routhier, music by Calixa Lavalée, 1880
          English words by Robert Stanley Weir, 1908.
The form =A A' A'', two 8-bar (4-cell) sections and one 12-bar (6-cell) section,
     with a return of the original melodic motif at the beginning of theA''.
           Back to the original music page

Melo-rhythm
Level 0bar-lines are indicated "/" andLevel -1bar-lines are indicated "\".
     Bars 1-8 consist of . / . \ / , presented twice,
          for the opening, principal theme,
               two 4-bar RhythmicEntities.
     Bars 9-12 consist of. \ . . / . \ / .,
          with bars 13-16 quite similar. \ . . / . \ / ,
                    thebeing merely melismas of the original.
               two 4-bar Rhythmic Entities.
     Bars 17-20 consist of the opening . / , twice, and
          bars 21-28 consist of . / \ / , twice, to close the piece.
               aMIMI MA MA, of two 2-bar and two 4-bar Rhythmic Entities.

Melo-harmony
The problem here is anticipating cadences,The Winter Syndrome-
     Bars 1-8 consist ofI V / VI, V \ I II I IV / V \ I II⁷ / V, I \ V II⁷ / V,
               whereII⁷ is aVofV.
          In bar 6, the harmonies go prematurely to theVchord,
                    anticipating the full cadence toVin bar 8.
               It seems preferable to cadence to theIIIchord in bar 6.
           1 point lost here.
     Bars 9-16 consist ofV⁷ / I \ IV I V⁷ I / V \ V⁷ / I \ V II⁷ / V,
               whereII⁷ is once againVofV.
     Bars 17-28 consist ofI / IV \ II / V \ I I⁺ / IV \ I V⁷ / I \ I / IV \ I V⁷ / I.
          In bars 23-24, the harmonies go prematurely to theIchord,
                    anticipating the full cadence toIin bar 28.
               Here again theIIIchord, this time major, is preferable in bar 24.
           1 point lost here.
               Only one large Harmonic Entity for the whole piece,
                    all the more reason to avoid the chord ofIin bar 24.

Melo-lines
The contours of the Melo-lines seem well disposed,
     with theAand theA'contrasting as they should,
          and theA"showing considerable symmetry with theA,
               with the appropriate Melo-rhythm changes for the ending.
           Add 1 point here.

Review of Entities
Theentitiesare quite unusual here,
     with a variety of Melo-rhythm Entities
               and only one large Entity in both Melo-harmony and Melo-lines.
           Add 1 point here.

New Look-Sound

NOTE
The inverse symmetry between bars 1-2 and 5-6 in the Soprano and Bass voices -
     the notes G-Bb-Eb and Eb-D-C in bars 1-2 and G-A-Bb and Eb-C-G in bars 5-6,
          in both cases, intervals of tenth, thirteenth, and tenth.
The chord of G (major) in bar 24, instead of the chord of Eb,
     is preceded byV⁷ / I IV I V⁷ \ VI II⁷ / V, in the key of Cm, in bars 21-24,
          so as to prepare the final chord of G, which leaves the harmony open.

Scores

In the technical evaluation -
     2 points were lost,5 - 2 = 3
In the artistic evaluation -
      2 points were added.
Total score = 5 points

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