Analysing the Melody & Harmony of AURORA's song Through The Eyes Of A Child (AURORA DEEP DIVE Pt.30) скачать в хорошем качестве

Analysing the Melody & Harmony of AURORA's song Through The Eyes Of A Child (AURORA DEEP DIVE Pt.30)

Stark tensions abound in this soft but earnest piece. Harmony: AURORA uses regular tonal centres, mostly without key changes, and uses the most common modes/keys (major/ionian and minor/aeolian), but also uses ones with 1 altered note (dorian, mixolydian, lydian); subtle modal interchanges are pretty common. Murder Song (5, 4, 3, 2, 1) is so far the only one that does differently. The most common chords are I, IV, V and vi in major, with ii coming along occasionally, and their minor equivalents. There are often extensions to the chords, with major 9 chords being present in a few different songs. Mostly the chord extensions are on the more "lush" side of complexity, so there aren't any active chords like Dominant 7ths, except for brief moments in Under Stars and Through The Eyes of a Child. Running With The Wolves has a moment where all 7 notes of the mode are present at once, which is quite exceptional. As the harmony stays in one key centre and doesn't have large modal changes, there are very rarely strong dissonances in the chords; the exception to this is In Boxes, where the modes are allowed to coexist and make false relations; Lucky also uses a rogue #4 regularly in its chorus. Commonly the harmonic rhythm is the same across a 4-bar section, and most often it is 1 chord per bar; sometimes one chord may be in two consecutive bars. Under Stars does differently to this, with a rhythm more like 1 chord per 2 bars; Lucky's harmonic rhythm changes quite a lot, but its 2-per bar sections feel more normal because of the slow tempo; In Boxes and Through The Eyes of a Child have a tonic pedal in their verses, so no chord changes there. Melody: The melodies stick to the modes of the harmonies. The use of out-of-key notes is very rare, and reserved for either a rare out-of-key chord or more often a short melismatic auxiliary note. However, when the harmony is more chromatic (when using modal interchange or more unusual things) the melody stays away from the notes that are most colourful and sticks to the less contentious ones. Murder Song is an exception to this, with a moment where the melody changes chromatically with the harmony. While the melody sticks to the mode, it doesn't always stick to the chord that it sits on top of. A common way AURORA manages this is to have long anticipation-note passages that eventually resolve in the next bar (by which time the melody has moved on); Lucky has several anticipations that don't end up being resolutions. The use of the most colourful notes within a mode is often quite restricted compared to the use of the pentatonic notes (1, b3, 4, 5, b7 in minor modes or 1, 2, 3, 5, 6 in major modes); Murder Song uses a lot of the 2 in minor; Lucky, Winter Bird and Through The Eyes of a Child use both of the most colourful notes regularly, both in passing and as longer notes. Go back and listen to the videos on Structure, Texture and Instrumentation if you like:    • AURORA DEEP DIVE   Support AURORA: https://www.aurora-music.com/ I've set up a BuyMeACoffee for anyone who feels compelled to send me some money for whatever reason - https://buymeacoffee.com/snowballfarming I go live on Twitch to talk about music every Thursday/Friday. Have a look over there if you like! If you would like to follow me, you certainly can. twitch.tv/snowballfarming I also have other links here: https://linktr.ee/sebfayle