For Once In My Life - Stevie Wonder (pop)

Question 1

Give an overview statement for Wonder’s use of harmony in for one in my life.

Answer 1

Wonder utilises a range of complexly extended chords, yet at almost all times, a tonic key centre is very clear and cadential phrases are used, leading to the extensions feeling like additions of colour rather than the main event of the song.

Question 2

What is the held chord in the intro?

Answer 2

F major (chord I, 6 bars - static harmony)

Question 3

What are the first four chords of the verse + what is the harmonic rhythm?

Answer 3

F, F augmented, F6, D7b9. They change every two beats (contrasts intro)

Question 4

Why is the first four chords of the intro an example of internal chromaticism?

Answer 4

The 5th degree of F is C, then becomes a C# (F aug), then a D (F6), then an Eb (due to D7b9)

Question 5

Explain the chord sequence at the end of Verse 1.

Answer 5

Bbmaj7 -> Em7 -> Eb11#13 -> D7#9 -> Gm11 -> C13 -> F
6 chords in 1 bar acts as the real climax of harmonic rhythm speed to end verse, which is coupled with accents and a forte marking, leading to a busy feel right at the end before dropping down into the next section (verse 2).
From the second chord (Em7) to the end of this busy moment, we have an extended circle of fifths pattern. The Eb11#13 acts as a tritone substitution of A, demonstrating Wonder’s real harmonic control. And then the D7#9 is played rather than a diatonic Dm7, as the D7#9 acts as a secondary dominant, keeping the sequence moving. The last three chords are a much simpler ii- V - I in F, but they are still coloured in with complex jazz extensions such as the C13.

Question 6

Give an overall melody statement

Answer 6

Stevie Wonder’s main melodic idea is, generally speaking, conjunct and diatonic, however it is developed later in the piece using some larger leaps and more playful phrases. It is worth noting that although there are plenty of examples of non diatonic melodic moments, to provide colour, but the main idea is certainly based around diatonic chord tones.

Question 7

How does the melody begin?

Answer 7

The melody begins with an anacrustic appoggiatura of the note G# on the 8th quaver of bar 6, just before verse 1 where it resolves to an A.

Question 8

How long are the melodic phrases and what interestingly links them?

Answer 8

Wonder’s melodic phrases are 4 bars long, and generally start with an anacrusis (often either the 8th quaver of the bar before, or the second semiquaver of the 4th beat).
The first two melodic 4 bar phrases almost rise sequentially from the first to the second.

Question 9

What is the range of verse 1?

Answer 9

F -> high Bb (compound 4th). The rising end to sections is apparent again as this Bb comes in the last bar of verse 1.

Question 10

What is the range of vocal verse 3 and what word is it sung with?

Answer 10

2 octaves - due to falsetto ‘mine’. (Gb to Gb)

Question 11

What is the melody of the harmonica solo like (overview)?

Answer 11

Begins by playing with Stevie Wonder’s sung melodic idea and develops it using the pentatonic scale. It culminates in its ending which goes to a Bb almost 3 octaves above middle C.

Question 12

Describe how the drums/percussion part provides rhythmic stability

Answer 12

Drums play backbeat with tambourine semiquavers

Question 13

Describe the sonority of the song generally.

Answer 13

Very typical of Motown genre eg. Vocals, drums, keys, guitar, which some less commonly used instruments such as the piccolo and harmonica.

Question 14

Describe the bassline.

Answer 14

The bass part is played by James Jameson and very typical of his style. It is improvised yet based around the chords, utilising passing notes and chord tones and fairly complex free and improvised sounding rhythms.

Question 15

Describe how the piccolo and keys compliment Wonder’s melody and an example for each.

Answer 15

They place in the spaces at the end of melodic phrases. Eg. Bluesy keys riff to end 2nd phrase of verse 1. And a piccolo flourish outlines the Bb6 chord at the end of the 3rd phrase of verse 1.

Question 16

In the second and third vocal verses, what is added?

Answer 16

2nd phrase of verses has chromatically descending violin minims: G,F#,F,E

Question 17

Rhythm overview statement.

Answer 17

Stevie Wonder uses a quick changing but steady harmonic rhythm, along with some instruments like the drum kit and tambourine, to provide a rhythmic stability which gives space for the melody to have a more free and conversational rhythmic feel, and also for the harmony have some complex extensions.

Question 18

How is the melody made syncopated and conversational feeling? 3 examples.

Answer 18

. First verse starts with anacrusis on word ‘for’ which starts on the 8th quaver of the last bar of the intro.
. Dotted rhythms are used. This is apparent even in the first phrase ‘For once in my life’, which uses these dotted rhythms to provide the syncopated effect.
. The second and third phrases of the first verse start on the second semiquaver of best four (anacrusis)

Question 19

How is the drum part written?

Answer 19

Generally provides rhythmic stability yet in the spaces at the end of phrases when melody has finished, there are a few little fills eg. In verse 2 a sextuplet fill is played on the last beat of the second four bar phrase.

Question 20

How is the modulation to Gb achieved?

Answer 20

A 2 bar almost entirely homorhythmic and syncopated (almost entirely offbeat) chordal riff: Fadd9, Ebadd9,Abadd9,Dbmaj7, C13b9. There is a circle of fifths progression within this sequence, and it ends on the dominant chord - C, which is unresolved as the 2 bar pattern is immediately repeated a semiquaver higher. Therefore the second sequence ands on a Db13b9, which is the dominant of our new key - Gb, and this is the first chord of the instrumental verse, so even though there’s all this complicated harmony, it ends on a perfect cadence. The riff is also accompanied by backing vocals singing ‘someone who needs me’ which establishes the motif used in the fade out to end the song.

Question 21

What is the role of the backing vox plus an example?

Answer 21

Fill in gaps between Wonder’s melody, and to develop later sections. Eg. Antiphonally repeats ‘not like it’s hurt me’ and ‘I’m not alone any more’

Question 22

Explain the texture of the piece.

Answer 22

Almost entirely melody and accompaniment. Generally texture thickens as the piece goes on, with a few new layers to keep the piece interesting eg. Backing vox act antiphonally (as previously mentioned). Also, the string minims that descend G-F#-F-E in the second phrase of vocal verses 2 and 3 have this effect too.

Question 23

Give an overview of Wonder’s use of dynamics, and how this works in the harmonica solo.

Answer 23

Generally the dynamics are mezo forte, with sections finishing with crescendos to forte, and the busy chordal riffs played with accents to end each verse. This creates a climax to end each section, with each new section being a release of this. In the harmonica solo, this is emphasised with the harmonica’s range, which culminates on a high Bb almost three octaves above middle C, along with the crescendo too.