就唔可以握成拳頭
更加唔能捱下去. . .
Harmony
Form & Structure
I have used the Fibonacci Sequence (i.e. 1, 2, 3, 5, 8, 13, 21...where term x is the sum of the
previous two terms) as the structure of the whole song, as Fibonacci Sequence has a strong connection with the Golden ratio (1:1.618. If you divide the term a with the previous term b, the sum will be getting more near to 1.618 as the terms increase). Golden ratio could be seen in nature, architectures, even out daily lives. Therefore, I would like to apply the idea into the song. With the Fibonacci numbers, I have used them in bars numbers and try to create something different in these bars:
In Bar 1, I established the original key, which is C major
In Bar 2, I have changed the key tempararily to G minor then F major.
In Bar 3, I have changed the key to E major.
In Bar 5, I have changed the key to D# minor, as I am going to change it to F# major in Bar 8.
In Bar 8, I have changed the key to F# major from C major in Bar 1. It is quite a coincidence as I have finished the modulation in 8 bars clear. Moreover, the accompaniment sound slower as turned sextets from triplets.
In Bar 13, I have used broken chords as melodies.
In Bar 21, I have changed the key to F# minor, the parallel minor of F# major.
In Bar 34, I have changed the key back to C major, the key at the very beginning.
In Bar 55, the song ends.
Lastly, the BPM of this song is 89 (55+34).
I would consider this song as an experiment, as I have omit some common laws of song writing, including using 4/8 bars as one part. To be honest, I am not able to play this song as it is too fast and too many finger techiques required. Therefore, in order to make the song more easy to play, I have added some fingering to the notes. I hope you enjoy the song.
There are 3 reference songs for the creation of this song:
1."Etude Op.10 No.5" by Chopin
2."Fantaisie impromptu" by Chopin
3."Reflets dans l'eau" by Debussy.
These 3 reference songs have been helping me to create the melody and the harmony of the song. First, the melody in Bar 13 is basically borrowed from "Etude Op.10 No.5", where my song is written with demisemiquavers while triplets in the Etude. The idea is simple yet it creates a fresh feeling. Second, the melody in Bar 17-19, Bar 27 - 32 is inspired from"Fantaisie impromptu". The melody could be heard even with a bunch of notes as it is always played at the very first note in each beat. The idea of polyrhythm (Playing triplets at the left hand while playing semiquavers at the right hand) is also used in the song, which creates an uncertain but warm harmony. Lastly, the part in Bar 33-40 is also inspired from "Reflets dans l'eau". I try to make a different feeling here by switching the melody and accompaniment, where the melody is played with left hand in a lower register and the accompaniment with right hand in a higher register. The music in this part sound more lightly, creating a contrast between itself and the other parts of the song.
I have also used a lot of dimished chords and argumented chords. I used them for modulation and creating an ambiguous harmony. I also want to create a chromatic effect in the song. For example in Bar 51- 54, the chord sequence is C-C#-A/C-Cdim. I have applied pedal point to play chords so that it doesn't sound so weird while changing the harmony.