Easy Come, Easy Go!!!

Hi I'm continuing the analysis. Sorry to all who have read and felt that its incomplete.

Phrasing

These first 2 lines make up a sentence, our favourite short-short-long phrase:

Mama, just killed a man. Put a gun against his head, pulled my trigger now he’s dead
(Short___)(Short________)  (Long_________________________________)

Mama, life had just begun. But now I've gone and thrown it all away
(Short______)(Short_____)  (Long______________________)

These two sentences feel that they have relatively "perfect" authentic cadences even though the first ends on the dominant (F major in Bbmaj key) and the second being tonicized to become the dominant of the new key of Ebmaj. I'll attempt to explain this.

The original recording goes like that: "throw it all AWAY"
"away" is the F major chord, a dominant of the current Bbmaj key. The bass then descends from Ab down to G and then *poof* we're in Eb major! I treat that G as chord III of the new key and if you play it out, GBD, one can feel the tendency to want to resolve to Chord I, Ebmaj.

This explains why I added a Bb octave after the G to create a more "dominant" feel to want to resolve strongly to I. This is very very common in orchestral bass parts especially the timpani where it is usually tuned to 4ths or 5ths apart to have a strong "soh" to "doh" feeling.

Now, in Eb maj, the phrase becomes a longer but Simple period.
Mama, ooh. __Didn't mean to make you cry. If I'm not back again this time tomorrow.
(Antecendent)  (Consequent_____________________________________)
Carry on, carry on as if nothing really matters
(I wont count this in as part of the phrase because its an extension to go back to Bbmaj, 2nd verse)

Same goes for the Bbmaj section of 2nd verse. But as for the modulation its slightly different because of the guitar solo. There is no modulation back to Bb major again.

Mama, oooooooh (Anyway the wind blows)
(Antecendent____________________)
I don't want to die I Sometimes wish I'd never been born at all
(Consequent__________________________________)

The guitar solo ensues, with two 4-bar phrases that shape the ascending and descending contours of the melody before transforming into a rather anti-climatic A major commencing the operatic section. (I used to think this was a climax of the piece but after listening to the Mnozil Brass version, I realised it was rather anti-climatic. Mnozil Brass made that anti-climax very explicit)

I lightly touch on the phrases for the ever-popular opera section:
The whole sections is made up of "call and respose" phrases which are also antecedent/consequent phrases. Here are some examples

I see a little silhouetto of a man Scaramouch, Scaramouch, will you do the Fandango
(Antecendent________________) (Consequent________________________)

(This is a double period, or part of it can be seen as a sentence)
(Galileo) Galileo (Galileo) Galileo, Galileo Figaro Magnifico-o-o-o-o
(short_______)(short_______) (Long___________________) >> Sentence
or
(a____)(c____)(a____)(c____)(A_______)(C____________)
(Antecendent______________) (Consequent______________) >> Double period
The phrase is not equally balanced though because of a 3/4 bar at MAGNIFICO!

I'm just a poor boy nobody loves me He's just a poor boy from a poor family
(Antecedent___________________) (Consequent___________________)
Spare him his life from this monstrosity
(This is sort of a phrase extension)

one more...
So you think you can stone me and spit in my eye (Antecedent)
So you think you can love me and leave me to die (Consequent)

so thats for phrases.

Counterpoint/Themes

I'd say that there is not much counterpoint present in the piece, if you take counterpoint to be an equal to the melody. The piece is actually very thematic, consisting of random fragments put together to become a masterpiece, or some may call it, random rhyming nonsense.

However, there is a particular counterpoint present in the Mnozil Brass version that moved me. When the lead trumpetter sang the 2nd verse, the trombonist stepped out and sang a counterpoint that was quite pleasant sounding!

Here are some themes I picked out from the original recording:

1. The very 1st fragment of the iconic piano accompaniment the beginning of verse 1, Bb F Bb D G_ F_, is quietly introduced in the intro if you listen carefully to the piano part at "open your eyes". It does not contain the same notes but the underlying feeling of the motif is present.
2. The 1st fragment of another popular descending chromatic theme comes in right after that when they hold the "see" in "Look up to the skies and see" played by the piano: Eb G Bb C Eb Bb Eb. This theme is heard extended at parts like the modulation back to Bbmaj right before the 2nd verse played by the piano (C Eb Bb Eb A Eb Ab Eb), in the operatic section right before "easy come, easy go" by the piano again and is last heard at the end of the piece before the gong is sounded in F major (D F C F B F Bb F). I thought it was damn funny when Mnozil brass sang it as "woa woa woa" right before the 2nd verse.
3. "Because I'm Easy come, Easy go" is the first time this 'mysterious' sounding fragment is presented before it appears again only in the operatic section at parts like "I see a little silhouetto...", "I'm just a poor boy nobody..." and "Easy come easy go will you let me go?".
4. A particular section of lyrics is also quite thematic. "Anyway the wind blows" is heard in the intro, in the 2nd verse as an echo sung with the material of theme 1, and lastly at the very end. It seems very thematic because the lyric does not seem to imply any particular meaning and does not seem to have any relation to what is going on, except that it did not really matter to him.

Form

I think its quite impossible to give a proper form for this piece. But here it is:

Introduction
Verse 1
Verse 2 (followed by linking guitar solo)
Operatic section
Hard rock secion (In Eb maj, before "so you think you can stone me...")
Coda

But if I must give it strict letterings then it shall be... er... AA'BCD?

Yup I think that's about all I have to say =)
~Pianist is wEird~