![]() ![]() The end, which seems like it should resolve on the tonic, instead rises up into the night sky and ends on a very high B. There’s only ONE instance of the tonic note E. Save a tonic note for the end of a phrase, or maybe the end of an entire piece, to make it feel like we’ve made our way home.īut you know what’s even more mind blowing? Check out the 3rd verse, after the bridge part. In fact, it’s almost always more interesting to lead a melody somewhere else. You really don’t need to bash people over the head with the tonic. There’s even a surprising E# on the “pon” of “upon” (I consider it E# rather than F, because it leads up to the F#). We keep longing for it, but the melody keeps skipping around it. The tonic note is like the star, off in the distance. But “When You Wish Upon a Star” is all about subverting expectations. The melody only hits the tonic on beat one ONCE.Ĭommon sense would seem to say that a good melody would use notes that sound good in the key, like the tonic note.Out of all 75 notes in the three verses, only 6 of them, or 8%, are the tonic note E.The tonic note, which helps establish the key, DOES NOT APPEAR UNTIL 14 NOTES IN. ![]() Every note immediately jumps somewhere else.
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