Polynesian Composition
Duration
Most of the melody's rhythms in the composition are quite simple with very limited note values. Most of the piece uses only crotchets, quavers and minims. This was done to adhere to the simplistic rhythms of the Polynesian style of music. At the end of the piece I used a dotted crotchet rhythm because it fit better with the lyrics. Although the song is in 5/4 I tried to make the rhythms simple and easy to recognise so it was singable and catchy.
​
I used the chordal accompaniment to help solidify the time signature. I split the bars into a grouping of three and a grouping of two. The ukulele plays at the beginning of each grouping which helps to ground the listener and keep the song moving.
Dynamics + Expressive Techniques
I have used no dynamic change. This was an intentional decision to keep the piece feeling simple as simplicity is a key part of the Polynesian style, additionally a strong, even sound can help the singing feel more confident.
​
I also used no expressive techniques in the vocal melody as the Polynesian songs we have studied do the same. Additionally there are no expressive techniques on the ukulele accompaniment partly because I don't play the ukulele and don't know of any, but also partly to adhere to the simplicity of this style of music.
Texture
Throughout the entire composition, homophonic texture is used with the exception of the four bar instrumental intro which has a monophonic texture. There is a vocal melody and a simple vocal harmony as well as a chordal accompaniment in the ukulele part. In some parts the Vocal parts sing in unison; this thins the texture slightly and creates a nice subtle break which contrasts the rest of the compositions's heavy harmonic reliance.
​
An example of this is at the end of the repeated phrase in the verse. Here, the parts sing the first three notes in unison before resolving to a major third harmony on the tonic.
Tone Colour
The tone colour cannot be appreciated through the score mp3 but I intend for the vocal melody voice to be performed in a strong and warm way in contrast to a lighter more bright harmony. This is to recreate the sound of Polynesian music which often has a male and a female voice. The ukulele is used to create a warm, mellow and smooth tone colour which helps to fill out the sound and make it feel more full.
​
Overall the tone colour of the parts are intended to create a warm, light and bright feeling.
Pitch
The composition is in the key of F major. It only uses the I, II, III, V and VI chords. These chords help to create a nice feeling of tension and resolution. Although the III chord isn't a primary chord I used it to transition down to the I chord to highlight the melody and create a better sense of resolution.
​
The melody has a medium sized range and most of the intervals between melody notes are quite small with the largest being a fourth and most others being thirds or smaller.
​
All of the harmonies in this composition are quite tight, usually a third up from the melody and at most, a fourth. This is a key element of the Polynesian style and that is why I chose to compose the harmonies in this manner.
Structure
This composition uses a very simple structure:
- Intro (instrumental)
- verse
- chorus
The four bar instrumental intro is very simple, with just a ukulele playing. It Introduces the key by starting and finishing on the I chord. The vocals come in for the verse which is a 4 bar patterns that gets repeated twice. The second repetition differs slightly from the first, as the second bar has a different melodic line to fit the lyrical movement. Finally the Chorus; the chord progression changes and the melody becomes a little slower relying more heavily on crotchets and minims. The piece concludes with a final held out note.