IMUMECHIEEN OKUPMUGWEM

Author: Warigbani, ThankGod Zebulun

Musical Analysis

Identification and Form
Warigbani’s “Imumechieen Okupmugwem” is a through-composed choral work composed for four voices: Soprano, Alto, Tenor, and Bass with piano and percussive accompaniment: conga, shakers, woodblocks, frame drum, and triangle – including all the repeats and interludes, the entire work is made of eighty-three (83) bars. The first four and a half bars are dedicated to the instrumentals, while the full choir enters from the upbeat in bar 5.

The Scale Mode: Diatonic
The scale mode for Imumechieen Okupmugwem is diatonic, making use of the eight notes of a diatonic scale. The scale ranges from one-line G to two-line D with an intervallic range of a
ninth. The music is pitched in the key of G major.

The Melodic Structure of the Song
The melody of Imumechieen Okupmugwem has free-flowing phrases with full repetition at bars 55 to 58, and after bar 70, there is a DS al Fine from bar 30 to 38 ending with a perfect authentic cadence. The melody begins on a lower tone, one-line D, rising to a high tone, two-line E, before descending to a middle tone, one-line G. Conjunct and disjunct movements are well employed in the melody. The unique appearance of the melody is given to it by the predominant use of leaps (disjunct). The use of rest and syncopated beats are special effect seen scattered throughout the music, as can be seen in bars 59 and 60, and many other bars of the music.

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Author

Warigbani, ThankGod Zebulun