High Level Relationships
This activity establishes relationships between the components ofMelody(Melo-HarmonyandMelo-Rhythm) which, at times, may be a little surprising, to say the least. How could Rhythm be responsible for the transposition (say, a half-tone lower) of a section of the music (both the Melody and the Harmony)? Rather than present these concepts in an abstract, theoretical manner, we thought it might be more pleasant (and effective) to present them within an interactive process like Analysis, with its double Quality Control and choice of participation, where you can evaluate the process itself by comparing the revised version with the original.

Back Door to MusicNovatory
Our first intention was to present this activity as a sequel to the volumes of Rhythm, Harmony, and Melody. We later realized that some of us might enjoy using Analysis as an Introduction to MusicNovatory, and grab the substance piece-meal as we go along. Links referring to the basic theory involved will be present at all times.

Double Quality Control
This is the best place to evaluate MusicNovatory and find out what it can do.
     The first Quality Control is our analysis and evaluation of the piece.
     The second Quality Control is your evaluation of Analysis,
               did you find it convincing, valid, and fair?
          Which version of the song did you prefer?

Judge or Observer
You can participate either as judge or as observer.
     As judge you send in you scores, technical and artistic.
     As observer you click to reach the results page directly.

Comparisons
You will find two kinds of comparison in Analysis.
1. Preferential comparison in which you will have the choice between
          (at least) two versions of a piece to determine which you prefer,
     and which allow you to evaluate Analysis itself.
          Were the changes really worth while?
          Do they sound better than the original?
2. Observation comparison of patterns (of melo-rhytm, melo-harmony, or melo-lines)
     which recur, for better or for worse, in several tunes
          and deserve to be observed by name as the tune is analyzed.
     Most patterns are named after the tune in which it was first observed.
The patterns will be listed here in 3 groups –
     (a) No-nos which should definitely be avoided -
      The Level Change Syndromeconsists of changing level (either to smaller or larger)
          without the appropriate adjustment of bringing the smaller level in sooner,
               or bringing the larger level in later.
          Almost all bridges of different level suffer from this syndrome, including
               the bridge ofSanta Claus Is Comin' To Town, which is at a smaller level, and
               the bridge ofMuskrat Ramble, which is at a larger level.
      The Joy Syndromeconsists of the chords ofI / I, V / V, a case of chord stagnation during 2 cells,
          named afterJoy To The World(in bars 12-15),
          also present inGod Save The Queen(America, in bars 7-10),
          and inThe Star Spangled Banner(in bars 17-20).
      The Banner Syndromeis a case of anticipation of the final cadential chord (eitherIorV),
          named afterThe Star Spangled Banner(in bar 7 and in bar 15, with the 2 cellsI / V, I / I),
          also present in theChopin Waltz in Am(in bar 7, with 2 cellsI / II7, V / V)
          and in theChopin Waltz in Bm(in bar 127, 2 bars before the return to 2 sharps).
      The Winter Syndromeis a case of anticipation of a final cadential chord several cells sooner,
          named afterWinter Wonderland(with bar 20 anticipating bar 24),
          also present inO, Canada(with bar 24 anticipating bar 28).
     (b) Cases which are quite permissible -
      The Santa 2-Cell Repeatis a case of repetition of antecedent melodic entities
          from the bridge ofSanta Claus Is Comin' To Town
               (in bars 17-24 with 4 cells ofI⁷ / IV, I⁷ / IV, II⁷ / V, II⁷ / V),
                     I⁷ being aV ofIVandII⁷ being aV ofV.
          This form of cadential anticipation seems perfectly permissible in such an antecedent repeat.
      The Mexican 4-Cell Repeatis a case of repetition of antecedent melodic entities
          from the bridge ofMexican Hat Dance(with 4 cells ofII⁷ / V, II⁷ / V, II⁷ / V, II⁷ / V).
          Even this extravagant form of cadential anticipation seems permissible
               in such an antecedent repeat.
     (c) Procedures which are strongly recommended -.
      The Rainbow Shiftis a case of a 2-cell combination in which the Off-beat of cell 2
               is derived from the Beat of cell 1,
          named afterOver The Rainbow(in bars 6-7) suggesting a shift of focus and attention
               to a larger level and producing a lofty, majestic effect.
          It appears in the first 2 cells ofAll The Things You Are(in bars in bars 3-4 and 5-6),
          and was offered as a possibility inthe French National Anthem.

     Let usknowif you have any questions.
You are cordially invited to take advantage of our free introductory offer.

This is what you will find in the next few pages -
An explanaton of theTitle
Details on theJudgingprocedures
How the wholeOperationworks