Analyse in detail bars 1 - 29 of Titanic showing changes in harmonies and harmonic pace.
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29.11.2003 Analyse in detail bars 1 - 29 of Titanic showing changes in harmonies and harmonic pace. At bar 1, Titanic is in Eb major however there is no Ab so it is in the lydian mode. The very first note of all instruments which play in bar 1 is an Eb, this makes the following chord very definite. There is then movement in contrary motion between the instruments in bars 1 - 4, it is still based on the chord of Eb major and the lydian mode. In bar 5, an Eb major 9th, 4th inversion chord is played, this then becomes a Bb major chord in the last quaver of the bar.
In bar 10, a G and A are added by the trombones and tuba followed by the horns 2 beats later. By bar 15, it has moved into B major - up another major third, from Eb to G and now to B. The establishment of the key is achieved by a B in the double bass and B moving by octaves in the Cello. Violin II and the horns have stepwise movement in thirds around B. From this point, the chord changes every two bars as opposed to remaining the same for more than 4 bars as it did earlier. As the ship speeds up, so does the pace of harmonic change.
The rhythm is now using quavers and semiquavers as opposed to crotchets and quavers. The oboe and clarinet both playing an A and an E which is a perfect fourth apart. The trumpets and trombones both play A major chords. Bar 26 is based on Eb major 2nd inversion. The oboes and clarinets are now playing in perfect 4ths. Bar 27 is back to A major. Bars 29 and 30 are based on G major. The trumpet and synth both play G major chords. The horns play G A B C# and end on a D, whilst the flutes and violins play D C# A and end on a B. They are both using the sharpened fourth and so is still using the lydian mode. The violins have a descending flourish (almost pentatonic) ending on a D. Peter Marchant Page 1 of 1
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