Task #7 - Polynesian Composition (Analysis)

Structure

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Since we were required to follow the structure of a 2-4 bar intro (I chose 4 bars), a verse, and a chorus, I didn’t have much freedom in structure. However, this worked in my favour, as Polynesian music often consists of a simple structure like this. Within the intro and verse, I used a repeating chord progression to create stability and strengthen a sense of home in establishing a key.

 

Texture

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Overall, my composition is homophonic, as it consists of two parts; a melody (vocals), and accompaniment (guitar chords). Homophony is quite common in Polynesian music, as it often features chordal accompaniment and a melody (sometimes a single simple harmony is added, but this can still be considered homophonic). This texture is maintained throughout the entire composition, except for the intro, where there is only the guitar. These 4 bars (except for the pickup note for the melody at the end of bar 4) can be considered monophonic. 

 

Tone colour

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The tone colour of the acoustic nylon string guitar in this piece is warm, mellow, and sweet. When paired with two voices an octave apart - one dark and smooth, and another gentle and soft - a common combination of tone colours in Polynesian music is achieved. 

 

Pitch

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My composition is in G major. I mostly used I, IV, and V chords (G major, C major, and D major), occasionally with the borrowed chord of VI (E major, which would typically be minor in the key of G major). These chords had few extensions, and they did, they were ninths and sevens, which make a very subtle difference. This is accurate to Polynesian music as they typically utilise primary chords with little to no extensions. Because of this, the melody did not use any accidentals, and its range was moderately on the larger side. 

 

Dynamics/Expressive Techniques

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This piece doesn’t have a large focus on dynamics, as they generally aren’t explored extensively in Polynesian music. The guitar is played at mezzo forte, whereas the vocals are slightly softer, at mezzo piano. These dynamics are maintained throughout the piece. The expressive technique used on the guitar is strumming.

 

Duration

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The tempo of this piece is 120 beats per minute. The melody consists largely of longer note values, meaning it is rather uncomplicated. All of the chords were held for long note values; either for one semibreve or for two semibreves tied together. This reflects Polynesian music well because the note values are often long and stable.