S1, S2 62
65-69
Alto
S2, T 69-71
T
72-74
S1, S2, Bar A Bar, B
75
Call and response becomes closer rhythmically, now only a minim apart. Climax. Loudest dynamic marking in all parts. Prolongation of the C! to F tritone. Final call and response between the soprano parts. The highest note of the piece, A!, forming a unresolved diminished 7th chord in combination with the tritone in the accompaniment. N.P. variation used to resolve the music back to B!. Beginning of first and only use of all 19 syllables of the in order. This is the first time the Alto has been heard as a solo voice, making the tone colour quite revelatory. A.P. in a very basic form, similar to bar 15. Heard again in 69 with the Soprano I with the inclusion of A! and F. Rising minor 6th interval is new, however this is in keeping with the “i" vowel on a more dissonant note. A.P. similar to bar 19 versions in its use of “ye”.
“dare”
Rising and falling 4th figure heard in the lower register of the Alto. Sparse two-voice texture to allow the Alto melody to project. C! in Bass as an unresolved chord to set up the ending. Final Cadence. Despite the piece being mostly centred around B!, the final cadence is onto a chord with E! as the root. The chord has a fifth, B!, and a ninth, F in the Alto. There is no third or seventh.
“dare ga”
“jibun ga jibun ni”
“naranai de”
Appendix 2. A simplified reduction of the harmonic trajectory in aida. Bar numbers are given for the occurrence of each chord. It must be noted that the horizontal aspect of this is not in proportion. The first bar below, for example, would take over a minute, whereas bars 58 to 62 would be only a matter of seconds.)
55