Formal segmentation and harmonic pentatonicism in Sgt. Peppers Lonely Hearts Club Band

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DOI:

https://doi.org/10.33871/23179937.2022.10.2.6729

Keywords:

Beatles, Rock, Musical Forms, Harmony, Musical Analisys

Abstract

This paper is an analysis of the musical form and harmonic progressions on “Sgt. Pepper's Lonely Hearts Club Band”, first track of the album with same name, and its Reprise that occurs on track 12. In the formal analysis, concepts from the theory of formal functions developed by William Caplin for the classical repertoire and adapted for the analysis of Rock by Drew Nobile will be used. Both tracks will first be considered separately, but then analyzed as a unique song. In the harmonic analysis, concepts of triadic pentatonic patterns developed by Walter Everett and Nicole Biamonte will be used.

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Author Biography

Ciro Visconti, Faculdade Santa Marcelina

Ciro Visconti é Doutor na área de Musicologia (USP, 2020), tendo realizado parte do curso na CUNY como bolsista do programa Fulbright sob a orientação do Prof. Doutor Joseph Straus. Mestre em Processos de Criação Musical (USP, 2014). Bacharel em Guitarra (FMCG - 2003). É coordenador pedagógico e professor do Conservatório Souza Lima. e do Curso de Pós-Graduação em Rock: Teoria, História e Prática da Faculdade Santa Marcelina, o primeiro curso de especialização nesse gênero do Brasil. Tem dois livros publicados: Guitar Player Brasil Série Estudo (Editora Melody, 2011) e Simetria nos Estudos Para Violão de Villa-Lobos, (Paco, 2016).

References

BIAMONTE, Nicole. Triadic modal and pentatonic patterns in Rock music. Music Theory Spectrum, Vol. 32, Issue 2, pp. 95, California. 2010.

CAPLIN, William. Classical form: a theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.

DE CLERCQ, Trevor. Sections and successions in successful songs: a prototype approach to form in Rock music. Tese de Doutorado. Rochester, NY: University of Rochester, 2012.

EVERETT, Walter. The Beatles as musicians: Revolver through Anthology. New York: Oxford University Press, 1999.

______. Making sense of Rock’s tonal systems. Music Theory Online, volume 10, Number 4, 2004. https://www.mtosmt.org/issues/mto.04.10.4/mto.04.10.4.w_everett.html#FN3REF

______. The foundations of Rock: from Blue suede shoes to Suite: Judy blue eyes. New York. Oxford University Press, 2009.

HELMHOLTZ, Hermann. On the sensations of tone as a physiological basis for the theory of music. Trad. Ellis, Alexander. Longmans, Green, and co. Londres. 1875.

NOBILE, Drew F. Form and voice leading in early Beatles songs. Music Theory Online, volume 17, Number 3, 2011. Society for Music Theory. Disponível em: <https://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.nobile.html>. Acesso 11 maio 2022.

______. A Structural approach to the analysis of Rock music. Tese de Doutorado. New York: City University of New York, Graduate Center, 2014a.

______. Harmonic sentence-types in Rock music. MTMW Annual Meeting. Appleton, WI. 2014b.

______. Form as Harmony in Rock Music. New York: Oxford University Press, 2020.

SCHOENBERG, Arnold. Fundamentos da composição musical. Trad. Seincman, Eduardo. São Paulo: Editora da Universidade de São Paulo, 1996.

______. Harmonia. Trad. Maluf, Mardem. São Paulo: Editora UNESP, 1999.

SUMMACH, Jay. The structure, function, and genesis of the prechorus. Music Theory Online, volume 17, Number 3, 2011.

STRAUS, Joseph N. Introduction to Post-Tonal Theory. 4th ed. New York, NY: W. W. Norton Company, 2016.

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Published

2022-09-29

How to Cite

Visconti, C. (2022). Formal segmentation and harmonic pentatonicism in Sgt. Peppers Lonely Hearts Club Band. Vortex Music Journal, 10(2), 1–30. https://doi.org/10.33871/23179937.2022.10.2.6729

Issue

Vol. 10 No. 2 (2022): Vortex Music Journal

Section

Dossier “55 years of Sgt. Pepper's Lonely Hearts Club Band”

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Copyright (c) 2022 Ciro Visconti

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