Thursday, March 8, 2012

Map Music: SMB3 – World 8


So just three lines here.  The Triangle Wave and one Pulse wave track are identical in pitch and register (slightly different timbre). 

I am mostly interested in intervals with this object.  The object can be heard as centered around F.  The half step decent at the repeat from Gb to F draws us back to F as our tonic pitch.

In the score below, I have boxed several intervals.  All the blue boxes are half step motions and the green boxes are tritones.  Notice how all the intervals between the lines (vertically) are P5s except for measure 4, where they chose to use a tritone.


So some very interesting patterns here.  Measures 1-3 and Measures 5-7 are transpositions of each other of ic3.  Measure 8 leads back to m1 with a semitone descent.  So how does measure 4 set up measure 5?  Well, there are two prominent harmonies that contain tritones: diminished chords and dominant 7th chords.  If this were a dominant 7th (C7), we would expect the following chord to have something to do with Tonic.  We could hear it as a i7 chord.  However, it most likely has a function akin to a diminished or diminished 7 chord, which is used often to modulate from one section to another since they can resolve in so many different ways. I can easily hear measure 3 as a edim7 to an Ab triad.

So what can be learned from looking at all these map objects together?  Is there something on a higher level that connects these objects together?  That and more coming soon!


Dom said...

Interesting piece, and good point with the tritone analysis, but why would you call it and Edim when you can call it a Gdim/E, just for the sake of clear, root based analysis (diminished resolving up a half step traditionally rather than up from E to Ab)? I know diminished chords can get very subjective.

flutistjason said...

You know... I don't really have any good reason calling it Gdim vs. Edim. I typically think of things in big picture. Most of my research and analytical focus is on big picture analysis, brought up in Schenkerian schools, with some Neo-Reimaniann thrown in (mostly as it relates to key relationships). When it comes to chord to chord, I tend not to look at inversions as much. I guess its all a matter of what you are looking for in the analysis.

Your suggestion of the Gdim/E does make the analysis a bit cleaner overall. I like it. Thanks!