Thank you, perhaps its layered for different reasons. Not being elitist in any way shape or form, for those who understand the 2-5-1 chord progression (and resolve) in jazz it may give them a different experience - but I hope the poem stands alone without that knowledge and judging by your response it does :) Yay!
Brilliant use of the II-V-I structure as emotional scaffolding. The progression maps perfectly onto domestic tension cause the V section (the drowning man) functions exactly how dominant chords do in jazz, building unresolved presure before the return. Using Blakey's rhythms in the opening adds a layer too since his drumming style was all about controlled chaos. Structuring narrative around musical form without it feeling gimmicky is tough to pull of.
That’s exactly the tension I was hoping the form would carry. I’m glad the V section read as pressure rather than explanation, and that the musical logic came through without becoming the point.
You'll forgive me, I hope, for not understanding the II-V-I structure of this. Truly, it went, it GOES, right over my head.
But...
I adore this poem. Incredible. Good stuff. Loved it!!
Thank you, perhaps its layered for different reasons. Not being elitist in any way shape or form, for those who understand the 2-5-1 chord progression (and resolve) in jazz it may give them a different experience - but I hope the poem stands alone without that knowledge and judging by your response it does :) Yay!
Brilliant use of the II-V-I structure as emotional scaffolding. The progression maps perfectly onto domestic tension cause the V section (the drowning man) functions exactly how dominant chords do in jazz, building unresolved presure before the return. Using Blakey's rhythms in the opening adds a layer too since his drumming style was all about controlled chaos. Structuring narrative around musical form without it feeling gimmicky is tough to pull of.
That’s exactly the tension I was hoping the form would carry. I’m glad the V section read as pressure rather than explanation, and that the musical logic came through without becoming the point.