How To Analyze Popular Music

is doubled by the tin whistles. There is also contrast in the contour of the melody – the antecedent has the octave-length intervals, as said before, but the consequent has a much narrower range.

At 00:48, after a short interlude, the Uilleann pipes are back, playing the same tune as in 00:20-00:32, which transitions back to the fiddle section at 01:01. The fiddles are playing a melody that mirrors the one it played at 00:33, with the contours turned upside down, causing most of the downbeats to be higher notes. This in turn gives the feeling of more hope and less loneliness which was present in the first half of the track. The key signature also seems more major as a result of this melody mirroring – the G major triad is more prominent now, compared to the E minor triad in the beginning. This “uplifting” version of the theme is repeated twice, and the second repetition (at 01:16) is further enhanced by a soprano choir which is doubling the melody.

The tune finally comes back full circle by returning to the original in 01:27. Back to the pipes and the guitar accompaniment, the theme is an exact copy of the version played at the very beginning. The theme

This can also be related to the Fairy Tail soundtrack. In the case of Track 1, “Fairy Tail Main Theme”, the role is clearly action – when the theme comes up on a scene, the audience immediately recognizes it and looks forward to the battle. Track 8, “A Busy Street”, has the role of setting, because it creates the sense of a specific place, which is the town streets. Last but not least, Track 4, “Dragon Slayer”, has the role of continuity, because it represents the journey of the characters through the anime, as well as the emotion role, because it provides the atmosphere of loneliness in the beginning which then transforms into triumph in the