"Frozen" and "Moana" songbooks just arrived in the mail! Thanks to those of you who donated to my Ko-Fi page for giving me the money to buy these!
And now (because I said having these scores would help me help you, didn't I?), here is an awesome example of rhythmic diminution from "Let it Go."
The first two measures present a melody in 8th notes; the next two measures repeat the same melody in 16th notes.
You're welcome! (And thank you!)
It's D major! Wait, no, is it? Yeah, it is. Wait a minute! (aka "Adventures in Tonal Meandering," Disney-Edition)
In my previous blog post, "The Chord of Death: How the Neapolitan Chord Makes 'Remember Me' from Disney's Coco Sound So Sad," I made the following argument:
I thought this was a pretty sound argument, but, as is often the case, the harmony is pretty ambiguous and there are multiple ways of interpreting it. (And that's why this stuff is so much fun to talk about!)
When I shared this post in our Facebook group, Dr. Kati Meyer, a professor of music theory at San Jacinto College, challenged my claim that the Neapolitan passage is, in fact, in D major:
Why not just analyze it in b minor? Then it would make sense as to why it is sad. [...]
I responded that although the music seems to be switching to B minor, it only does so for a single measure, which is too short to call it a real modulation:
Because it's not really tonicizing B minor. After that one single measure that has a B minor tonic chord, it's already on to other things, including a Bb chord several measures later. The one stable tonality here is that the song begins, ends, and keeps returning to D major.
But perhaps I was oversimplifying. As Dr. Meyer went on to explain, small-scale modulations like this – "localized tonicizations" – are a fairly common phenomenon and were used extensively by Bach. By this reasoning, the music does, in fact, shift to minor, even if only for a couple of measures - and hence, it sounds sad:
That cadential formula looks like a legit small scale tonicization in b minor to me. Bach does that all the time in fugal developments, modulation to even distant lands within the span of a few measures!
So this got me thinking... if that's what's going on, then what happens in the rest of the song? Are there other small-scale tonicizations like this that take the music "to distant lands" à la Bach?
It's an interesting way of looking at this. The opening phrase is in D major-ish... ("ish," because of the modal mixture). Then it's got a solid cadence in B minor. Then it's got a solid cadence in G major. Then the second verse begins in D major-ish again, just as the first verse had done. And then we get a series of adventurous sonorities that seem to take us through a circle of fifths - B minor, to E minor, to A major - which finally resolves with a cadence in D major. (And not even D major-ish this time... legit D major!)
So the question is, how do we make sense of this all?
One way would be to say that it's all in D major, but that the second phrase prolongs a vi chord by using an applied cadential formula, and the third phrase prolongs a IV chord by using its own applied cadential formula, and that then leads back to an actual cadence in D major. In other words, the first verse is basically I - vi - IV - DomAug7 - I, and each phrase just stretches out each of those chords for added color and length.
Another way would be to say that it starts and end in D major, but in between it meanders to a variety of other tonalities: the relative minor (B minor) and a nearby major (G major). In other words, rather than stretching out each chord in a relatively straightforward progression, it's taking us on an emotional journey through related minor and major tonalities.
What do you think? It's certainly a fascinating song, and I so wish that I had time today to dive into the second half of it! (Well, there's always another day!)
How can a Disney song in D major sound so, so sad?
The emotional power behind the music of "Remember Me," a bittersweet song of farewell from a father to his daughter, is deep and complex. In this post, I'll just give a hint of what's happening in the first couple phrases. Perhaps in the future, when I have more time, I'll dive into the rest of the song, as well!
The song begins with a "minor plagal cadence," a form of modal mixture that replaces the major IV chord with a minor iv chord. It's like pulling the rug out from under the listeners' feet: we think we're in major, but suddenly it sounds like minor, and then it cadences in major again. As music theory YouTuber Jake Lizzio puts it, this is a progression "to make you cry."
But what I really want to write about is what comes next: a Neopolitan cadence in the relative minor, B minor.
In their study on music and emotions, theorists Daniela and Bernd Willimek describe the Neapolitan chord (bII) as "a symbol of death," noting its use in a song by Schubert to highlight the phrase "weinen ganz totenbleich" (weeping, and deathly pale).
In fact, the Neapolitan chord – which appears in measure 4 of "Remember Me" – has long been associated with death and destruction.
Vivaldi, for instance, used the Neapolitan chord in the second movement of his Four Seasons to evoke human suffering during the blaze of summer: "Under a hard season, fired up by the sun / Languishes man, languishes the flock and burns the pine."
Bach used the Neapolitan chord in his St. Matthew Passion No. 19 on the word "Plagen" (suffering): "What is the source of all of this suffering?"
Mendelssohn-Hensel used it in her song "Ferne," Op. 9 No. 2, on the word "ertötest" (mortify): "Why do you mortify me?"
There are so many more examples one could give – from Mozart's Requiem Mass, Beethoven's Appassionata Sonata, Wagner's opera Das Rheingold – which also utilize the Neapolitan chord in conjunction with deathly thoughts.
But the point is, the Neapolitan chord also plays a crucial role in establishing the mood of "Remember Me" from Coco, and understanding the long history of its usage in classical music can help us better appreciate its use in Disney.
OK, so what is the Neapolitan chord, anyway, and what's it doing in Coco?
Glad you asked!
The Neapolitan chord is a ii chord in minor, but lowered by a half step. For example, in C minor, a regular ii chord is a D chord, and the Neapolitan (bII) is a Db chord. That's jarring, because Db is not part of the C minor scale. In other words, it's chromatic.
But why is it associated with death?
Part of the reason, perhaps, is that lowering scale degree 2 turns the minor mode into the Phrygian mode, which, as I wrote in a previous blog post, is also associated with death.
Another possible reason is that the Neapolitan chord is generally used as part of a cadence (bII - V7 - I), and when you do that, you set up a tritone between the root of the Neapolitan chord and the root of the dominant chord. Tritones, of course, are also associated with death.
What's especially interesting about "Remember Me" is that it doesn't, in fact, use the Neapolitan of D major. Rather, it uses the Neapolitan of the relative minor key, B minor, followed by a full V7-I cadence, making us feel like the music has suddenly slipped into minor. But it hasn't gone into minor! The song really is, ultimately, in D major. This is just one of the many tricks that composers Kristen and Robert Anderson Lopez used to make the song feel like it's ever floating between major and minor, not quite happy but also not quite sad:
And it's ironic, isn't it? Coco's father wrote this song for her so that she'd remember him while he's away on his concert tour and look forward to seeing him when he gets back. But while he's away, [spoiler alert!] he gets murdered. And decades upon decades later, after waiting so long for his return, Coco has almost entirely forgotten him.
So it's appropriate that the song should hinge on a chord that Vivaldi, Bach, Hensel, and so many others have for centuries associated with death.
The Lydian Mode in "Belle" (Beauty and the Beast), Part 2
Wow, is this fun!
In yesterday's blog post, I explored the use of the Lydian mode for little bursts of pizzazz in the otherwise major-mode opening of "Belle." As I explained in that post, all of the singing in the first two verses is in major. Lydian is used ONLY by the orchestra, either to add some space between lyrics or to underscore spoken dialogue.
ALL OF THIS CHANGES AT THE END OF VERSE 2.
Yes, Belle, this is going to be nerdy! And I can't wait to share it with you. ;-)
First things first: here's a video of the song and the structural charts of the first two verses from yesterday's post. Then we'll see how things are different after verse 2.
If you compare these charts for Verse 1 and Verse 2, you might notice that the first verse ends with a spoken dialogue, and the second verse doesn't.
Well, actually, the second verse DOES end with a spoken dialogue, but it comes after a lengthy verse extension that is ENTIRELY in Lydian.
Here's how that verse extension begins:
If you examine this passage closely, you'll notice two tell-tale signs that this isn't just in Lydian, but, like, really in Lydian:
After this, the verse extension continues with a spoken dialogue. As in the previous dialogue from Verse 1, we hear that playful Lydian melody in the cellos, as Belle talks shop with the bookstore owner.
HOWEVER, this time it's more complex (and the dialogue's much longer). As you can see in the sheet music below, this cello tune is played several times in D Lydian. Then, it's transposed up a minor third, to its chromatic mediant, F Lydian. After we hear it in F Lydian a few times, it then returns back down to D Lydian. These chromatic-mediant modulations mirror those in the Lydian singing just before this, where the music had modulated from G Lydian up to Bb Lydian.
Chromatic mediants, in case you don't know, often indicate some powerful emotional shift. So in the first passage, the energy of the group bursts suddenly higher with the shift from G Lydian to Bb Lydian, leading Belle to wail in misery: "There must be more than this provincial life!" Then, at the bookstore, as Belle begins talking about her favorite book, she gets emotionally carried away: with the shift from D Lydian to F Lydian, she begins to talk about why this is her favorite book, full of "far-off places, daring sword fights, magic spells, a prince in disguise..."
All of this is followed by Verse 3, which mostly follows the structure of Verse 2, and then we get to Belle's big solo -- "Ooooooohhh, isn't this AMAZING?" -- which is, you guessed it, also in Lydian. And then we get Gaston's solo, which is in Mixolydian.
But we'll save that for another day. :-)
Did you ever notice these bits from Snow White and Cinderella are the same?
And it's SO ACADEMIC! The green notes go up, the blue notes go down, til they blend into purple... put 'em together and what have you got? A "polyphonic melody," in the style of Bach.
Samantha Zerin has a PhD in historical musicology from New York University, and has taught music theory at NYU, Brown University, and the Borough of Manhattan Community College. She is also a composer and poet, and teaches private students. To learn more about Dr. Zerin and her work, you can visit her main website, www.CreativeShuli.com