Parece lógico pensar que en la música pop no se han utilizado muchas progresiones armónicas originales. Pero, de vez en cuando, podemos encontrar algunas ideas brillantes y de gran belleza.
Transportando todo a la tonalidad de F#m, podemos extrapolar un modelo de este nuevo schemata.
Así, el gran cantautor italo-francés Leo Ferré, en su canción Avec le temps, diseña un patrón que, junto on otros elementos de la obra (incluyendo la letra), dan lugar a una intensa sensación de tristeza y nostalgia.
It seems logical to think that not many original harmonic progressions have been used in pop music. But, from time to time, we can find some brilliant ideas of great beauty.
Thus, the great Italian-French singer-songwriter Leo Ferré, in his song "Avec le temps", designs a pattern that, together with other elements of the work (including the lyrics), gives rise to an intense feeling of sadness and nostalgia.
Thus, the great Italian-French singer-songwriter Leo Ferré, in his song "Avec le temps", designs a pattern that, together with other elements of the work (including the lyrics), gives rise to an intense feeling of sadness and nostalgia.
Esta es la canción original / This is the original song:
Por la gran belleza de su versión, esta es la de Celine Dion:
For the great beauty of her version, this is Celine Dion's:
La esencia de este patrón es un bajo descendente a modo de lamento desde el 1 hasta el 5 de la tonalidad, para resolver en cadencia al 1. A la vez, se producen una línea descendente desde b7 hasta 1, que no tiene por qué utilizarse en la melodía (de hecho Leo Ferré no lo hace) sino que puede funcionar como una línea interna. La melodía funciona bien moviéndose en la parte del acorde que queda entre el bajo y la otra línea descendente. En la canción de Ferré arranca en el acorde I con el grado 3.
Transposing everything to the key of F#m, we can extrapolate a model of this new schemata.
The essence of this pattern is a descending bass as a lament from 1 to 5 of the key, to resolve in cadence to 1. At the same time, there is a descending line from b7 to 1, which does not have to be used in the melody (in fact Leo Ferré does not) but can function as an internal line. The melody works well moving in the part of the chord between the bass and the other descending line. In Ferré's song it starts on the I chord with the 3rd degree.
The essence of this pattern is a descending bass as a lament from 1 to 5 of the key, to resolve in cadence to 1. At the same time, there is a descending line from b7 to 1, which does not have to be used in the melody (in fact Leo Ferré does not) but can function as an internal line. The melody works well moving in the part of the chord between the bass and the other descending line. In Ferré's song it starts on the I chord with the 3rd degree.
El Aria de ejemplo tiene estas partes / The Aria in this example has the following parts:
A: Romanesca + Romanesca (F#m)
B: Le Temps (F#m)
C: Fenaroli x 3 (Amaj - Emaj - Amaj)
B: Le Temps (F#m)
A: Romanesca + Romanesca (F#m)
Video:
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