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History
The songMary Had A Little Lamblent itself to several Counter Melodies,
of which this seemed the most interesting,
both for the music and for the words, placed on a larger level,Level +1.
The boys are evidently mocking the girls that they have the story all wrong.
Comparison Of The Two Melodies
Mary Had A Little Lamb - - - It Stayed With Her Mother All Day
General
Form=AA'
Level 0for eachA=0 + 4- - -Level +1for eachA=1 + 4
including dashed Bar-lines placed atLevel -1, - - - with only solid Bar-lines placed atLevel 0
2 2/4 bars per cell, 4 bars (2 cells) in eachA- - - 2 4/4 bars per cell, 4 bars (2 cells) in eachA,
16 2/4 bars in all - - - 8 4/4 bars in all.
A A' A A' - - -
A A'
2 Levels
This question of 2 simultaneous levels certainly merits an explanation.
Melody 1 starts first and is in short 2/4 bars atLevel -1
while Melody 2 starts later and is in longer 4/4 bars atLevel 0.
This is what allows them to cadence together at the end of each line,
and especially at the end of the piece.
Another way to look at it would be to situate both levels
within the largeLevel +1grouping of 4 2/4-bars, in which
Melody 1 is grouped with Bar-Beats2 3 4 / 1, and
Melody 2 is grouped with Bar-Beats3 4 / 1 2,
in which it is quite clear why Melody 2 comes in a bar later.
The DOMINANT C7chord always appears on Bar-Beat4.
To simplify comparison, the 2/4 bar numbers will be used for both melodies.
MeloHarmony
The two melodies evidently have the same harmonies, chords, "changes"
M54 54 54 54- - -M54 54
2 Levels Again
TheM54(F F C7F)is the only 2-cell chord pattern
which can act as both Antecedent and Consequent,
with the result thatM5454becomesM54at a larger level,
with a very subtle action ofTenant Chords.
All of this is of merely theoretical interest
because Melody 2 follows the exact chord pattern of Melody 1,
with the DOMINANT C7at (2/4) chords 3, 7, 11, and 15,
which produces a completely different harmonic sensation in each melody.
MeloRhythm
TwoEntitiesfor Melody 1 - - - OneEntityfor Melody 2.
K2F= F=F= K2F= pK2M twice - - -pK2F= pF=pF= pK2F= pK3Monce
(forcode).
The MeloRhythm of these two melodies, each in its own size, is remarkably similar,
with only a few dots and pick-ups added in Melody 2.
It is evidently preferable to have different sizes (and number) of Entities for the
two melodies,
the Langer Hinge of Melody 2 (A F C) at the end of the first Entity of Melody
1, (F)
keeping the whole piece "open" (at Bar 8), to "close" only at the very end
(at Bar 16).
MeloLines
2 / 2 \ 3 / 2 \ 2 / 2 \ 1 / 1 \ 2 / 2 \ 3 / 2 \ 2 / 2 \ 1 / 1- - -(0)/ 3 \ 2 / 1 \(0)/ 1 \ 3 / 2 \(0)/ 3 \ 2 / 1 \(0)/ 3 \ 2 / 1
(forcode),
Only one Orbit has been chosen for each bar,
and whatever precedesOrbit 2is consideredOrbit 3.
The same number and size of Entities as in the MeloRhythm,
the Langer Hinge of Melody 2 (3 / 2) at the end of the first Entity of Melody 1, (1 / 1),
keeping the whole piece "open" (at Bars 7-8),
to "close" only at the very end (at Bars 15-16).
Orbits being the four components of harmonicVoice-Leading,
they are only truly pertinent where a harmonic progression occurs,
in this case at each DOMINANT/TONIC progression,
(C7/ F), at Bars 3-4, 7-8, 11-12, and 15-16.
At Bars 3-4 and Bars 11-12, we have3-2with2-1.
At Bars 7-8, we have1-1with3-2.
At Bars 15-16, we have1-1with2-1.
During the 2 TONIC bars (F), at Bars 1-2, 5-6, 9-10, and 13-14,
the Orbits have relatively little importance
because they were chosen for reasons of Sonorities.
Analysis Of Melody 2
General
Everything satisfactory in itsAA'form.
Melo-rhythm
Everything satisfactory in itspK2F= pF=pF= pK2F= pK3Mshape.
Melo-harmony
Everything satisfactory in its F C7/ F F chord pattern,
the same as that ofFrère Jacques.
Melo-lines
Everything satisfactory in itsLanger Hinge.
General Review of Entities
Everything satisfactory in their proportions,
1 entity in the Melo-rhythm and 1 entity in the Melo-lines,
but 4 entities in the Melo-harmony.
To seeExample 4
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