Deck the halls with boughs of holly, Tis the season to be jolly, Don we now our gay apparel, Fa la la, la la la, la la la. Troll the ancient Yule tide carol, Fa la la la la, la la la la. See the blazing Yule before us, Fa la la la la, la la la la. Strike the harp and join the chorus.
Fa la la la la, la la la la. Follow me in merry measure, Fa la la la la, la la la la. While I tell of Yule tide treasure, Fa la la la la, la la la la.
Deck the halls with boughs of holly Deck the halls with boughs of holly, Fa la la la la, la la la la. Strike the harp and join the chorus. Fa, la, la, la, la, la, la, la, la! Follow me in merry measure, Fa, la, la, la, la, la, la, la! While I sing of beauty's treasure, Fa, la, la, la, la, la, la, la, la!
Fast away the old year passes, Fa, la, la, la, la, la, la, la, la! Hail the new, ye lads and lasses! Laughing, quaffing all together, Fa, la, la, la, la, la, la, la! Heedless of the wind and weather, Fa, la, la, la, la, la, la, la, la! The repeated "fa la la" goes back to the earlier Welsh and may derive from medieval ballads. The phrase "'Tis the season", from the lyrics, has become synonymous with the Christmas and holiday season. Instead, we have a desire to hear the tonic after we hear the dominant.
Many theorists argue that you only need a dominant and tonic triad to be in a key, which comes into play when you come across pieces that change keys. The next four measures 5—8 repeat the same exact music as the first four. The melody changes in measure 9. Instead of starting high and then descending, the melody begins low, on G and climbs up to the highest pitch in the entire song, a high F in measure At the end of the B section, the melody descends down to the same C that the A section begins on, and this nicely sets up the repeat of A.
Historically, this type of overarching form can describe other forms like the sonata where an exposition is repeated AA before moving into a development section B that ultimately ends in a recapitulation A. Spend too much time on new material, though, and listeners can get lost and bored because nothing sounds familiar, so the repeat of the A section at the end gives them something familiar again, which is pleasing. For composers just starting out, this form is especially helpful, as it is a full and familiar form that limits the amount of music you actually have to write to have a song that feels complete.
The harmony in this piece also plays a role in defining the AABA structure. The first chord, would be one, and we use capital Roman numerals for major and augmented chords and lowercase Roman numerals for minor and diminished diminished also have a degree symbol chords.
A "regular" phrase follows a map of tonic T — pre-dominant PD — dominant D — tonic T , and the expansions serve to make any of these sections of music last a little longer. Dominant chords are built from either the fifth step in the scale or the seventh. They have a tendency to move to the tonic because these chords contain the leading tone scale step seven, which is a half-step below scale step 1, or C in the example above and the supertonic scale step 2, which likes to move downward to scale step 1.
These are IV and ii. It's up to your instructor which they prefer, but if you're on your own, choose whichever is easiest to you. I recommend when you're first practicing to label the prolongations, so you're aware they're happening. It's making the tonic function last longer by not progressing to a dominant function.
We also use Roman numerals as a way of showing whether the chord is major or minor: capital numerals are major, and lowercase numerals are minor.
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