Swallowed by a Song
143
Example 5.13. (continued)
mony; the e2 itself would then be a passing tone that "resolves" with the vocal entry (just as the oboe's f#2 of mm. 6-7 resolves in the piano's e2). This figure achieves motivic significance by virtue of its appearances in the guitar (mm. 14 and 22), in accordion/vocal solos performed by one Sivuca in measures 44 and 52-54 (m. 52 features inauthentic "parallel seconds"), and its reverberation in the structurally important e#2-f#2-e#2 vocal figure in measures 20-32. If "I Do It for Your Love" is notable for its healthy dose of carefree nonharmonic tones, it is equally remarkable for its peculiarly "missing" but implied structural tones that are called for, but do not appear, in the voice-leading structure. This is true not only of the "missing" opening tonic chord (due to the auxiliary cadence) but also of the third and second scale degrees in three of the four structural descents. It is quite curious that the structural third scale degree, B (which should be