Analysis from Scene D'Amor.

CT = Chord Tones

The opening:

- Opens with an Em chord and then goes to Ab Major. He accents the Ab Major with a
lydian (#4), and then resolves that D to a C, which is a chord tone. It's a
beautiful sound. Beautiful resolution in the opening.

- Question: how did he logically get from Em to Ab Major? I would say the Em
is comming from the key of Am, therefore, Bernard is only going from Am to Abm,
back to Am. Beautiful.

- Then he plays this beautiful chord, the CMaj7(no 5). He doubles the Maj 7th.
Beautful! The melody stays within the CT, going from B to E. But because of the
tension between C and B, the chord and the melody has much depth.

- It's interesting how he cushtions E before and after the Eb in Ab Major.

It is great.

- The chord progressions -- Abm to Am/CMaj7, relies on the common tone of C.

- The melody is in two-bar phrases. He also interchanges the melody among the
first and 2nd violins.

- He takes the same phrase concept in bars 2-3 and transposes down a major 3rd to
Fb Major, but he uses a Fb lydian sus 4 chord, raising the Bbb to a Bb. There is an
incredible amount of tension and dissonance on this chord. that obviously needs to
be resolved. The tension is then lessoned when the chord goes to Fm(+9)

- He uses a chromatic neighbering tone to introduce a note. For instance, he plays

a Am+9(no root) this neighbors to a G#, then the next chord is Ddim.

- He is constantly changing the time signature from 4/4 to 3/4 and back. This
helps to add to the movement and instability. I like this.

- He writes chords, such as the Edim7, leaving out the 3rd note to create harmonic
ambiguity.

- Cool chords: Am+9(no root) to Ddim; Edim7(no 3rd) to Fm; Am+9 to F# half-dim (F#-
C-E-A) to D#m4+6 (D#-F#-A-C); Em7 to E7b9; E7b9 to Ab.

- Seemingly, you get a Tristan Chord whenever you play a Fr+6 or 7th chord voicing
the 4th instead of the 5th. For stance (1-3-#4-7)

- He uses tremelo to agitate the music. Keeps a pedal tone as the harmony rises.
Condenses the two-bar harmonic structure into just one bar now.

- A progression of nothing but diminished chords creates a since of yearning and

searching. Interesting.

- There is pretty much a lot of harmonic ambiguity until the end cadence, when
Bernard uses chromatic mediants to circule around the C Major chord. And he ends on
C Major.

- He goes back between 3/4 and 4/4 so that he has a nice rest without having to
write a fermata after every phrase. This is cool.
- FYI - A m7 b5 chord is a half-diminished chord.