Here is the music analysis of a famous piece of music that is the
of the Stlanley Kubrick 's movie "Clockwork orange". This theme is arranged by
composer Walter Carlos is directly borrowed from baroque composer Henry Purcell
(1659 - 1695) and has been composed for Queen Margo's funerals.
Moog and Fairlight synthesizers
1 unique theme
theme of this piece follows the
harmonic progression studied here above. It is
divided into 5 parts + Da capo, and does not exceed the
ambitus* of a perfect 5th.
From bar 1 to 9, we are in a anacrusis* phase that leads to the climax* on a "D"
note (bar 9); from bar 9 to 16, a desinence* leads us back to the initial G note
in bar 16.
The 4 last bars conclude by a perfect cadence* in the key of C.
Generally, the funeral mood is respected by the use of a bare melody made of
small intervals giving a "reverence" feeling.
Finally, we can notice an existing symmetry between the 4 first bars and 4 last
bars using an upwards chromatic neighbour tone (G-Ab-G) and a downwards
chromatic neighbour tone (C-B-C).
The other symmetry is about section 3 and 4 built on an harmonic sequence in G
minor, then in Eb major.
The harmony is typically baroque with a kind of modal
chord progression on 1 theme only. The main
key is C major. The constant contrast between C
major and C minor reveals a modal color of the baroque era in which the new
tonal and ancient modal languages coexist. For example, the contrast created
between the tonic chord C major and the sub dominant modal chord F minor.
Ab maj / Ab maj 6
C min / D7
Ab maj / Bb maj
F min / G maj
modulation between these different parts mainly
use the "homonym technique", in other words, a changing of mode (from major to
minor by keeping the tonic). For example, in bars 4 & 5 (C maj and C min); in
bars 8 & 9 (G maj and G min); in bars 20 & 1 (da capo from C min to C maj). The
tonal progression remains clear : the 1st and 2nd parts (C major with modal IV
chord F minor and modal VI chord Ab maj); the 3rd section (going to G minor =
modal dominant of C major); the 4th section (to Eb major = C minor relative),
and the 5th section (C minor = Homonym key of C major). The harmonic interest
comes from a constant crossfade between transition
chords, a kind of bridge betwwen the different
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