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Praeludium In D Major Analysis

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The piece that were played next was Praeludium in G Major performed by Stephan Distad on the organ. The piece began with short rapid notes. As it progressed, the texture became polyphonic as unwinding and expansion of each melody line overlapped the original, resulting in three interchangeable melodies. The rhythm were energetic. Short, melodic and rhythmic phrases were commonplace, including the basso ostinato, a melody set over a repeated bass pattern. Tempos were fast at the beginning of the piece and slow towards the end of a piece. Major scales were used as the basis for the tonal centers of pieces. Cadences at the end of sections were strong, and harmonic movement included repetition of a series of chords at a higher pitch. The unity of mood in this particular piece expressed one basic mood of joy as it remained the same throughout due to the polyphonic short and rapid notes repeatedly played as a rhythmic pattern.
The third music piece heard was Toccata in D Major by Stephen Distad and Justin Langham. The piece began with Distad on the organ playing a single measure. The trumpet entered as the second melody, playing on a same note at the same time, making the texture polyphonic. Even though the trumpet sounded louder, the organ carried the vibrations farther. The organ played the …show more content…

The piece began with Distad on the organ playing the first few measures, later joined by Distad, playing the trumpet in the middle of organ's measure. As the lingering low-pitched vibrations of the organ notes trumped the duration of the trumpet's sharp accelerated notes, the organ carried the trumpet throughout the performance. Throughout the piece, the trumpet took long breaks, also known as rests, between each measure as the organ continued to play, and started playing again on a higher octave than the previous time, except for the end, when the organ played alone with a high pitch

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Among his many great compositions, his piece “Chant, Op 12, No. 1 "Nobody Knows the Trouble I've Seen" is one that has influenced many individuals. The form of the song starts softly with the low pitches of the piano and then the violin accompanies it. Around two minutes into the song, the pitches of the violin changes to very high pitched for about forty seconds, and then the song goes back to its normal texture until the song ends. The texture of the song is polyphonic. As the violin is the instrument that is the main instrument in this piece, the piano accompanies it with its harmony of low and high pitches.

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Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as

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The 4th movement opens with a flurry of sound and then an instrumental recitative is introduced. Recitative is a free improvisatory melody. In this style, the piece’s recitative is song-like and gives the impression that all of the string instruments are playing the exact same rhythm, but at different

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Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus. Dynamics each verse begins in mp and increases dynamically to mf at the pre-chorus; there is a slow crescendo to f during the transition from pre-chorus to chorus. Tempo the tempo of this song is moderato at approximately 116 bpm, however it feels much slower due to the emphasis being on the 2nd and 4th beats rather than on the 1st and 3rd.

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Voltaire was born in Paris, France in 1694 to a well to do family. He was a writer during the Enlightenment period and is considered one of Frances greatest writers of the period. His controversial political writing lead to two periods of imprisonment and years of exile.

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The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).

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The trombones, however, are abruptly interrupted by the string and percussion instruments, in which are louder (forte) and more passionate. The startling contrast between the trombones and the string and percussion instruments created a sense of disruption and uncertainty, while still returning to a slightly stable mood. Furthermore, the string and percussion instruments were followed by two more breaks and increases in tempo and pitch until the performance resigned back to its original, pleasant, melody of the trombones. Amidst a short break, the melody interchanged between becoming louder (crescendo) and softer (piano), but, despite the exposition’s aggressive abruptness, the general mood transitioned into a sense of longing and optimism, which shaped the developmental section of the overture’s Sonata form. Furthermore, softer (piano) parts of the developmental stage consisted primarily of wind instruments which permitted a wistful sound, thus alluding to a sense of passive longing.

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The orchestra maintained the musical score and provided ornamentation and emphasized the melodic contour of the singer’s vocal line. Without reading the subtitles, there is such emotion and energy in the male singer’s performance that it is easy to see, along with the physical positioning and facial expressions of the female performer, that there is an impassioned dialogue being given from him to

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The form does have repetition and no contrasts or variation in form. In regard to the music being ornamented with trills or being highly decorated, neither are present in this musical performance, it is a rather plain piece of music. The rhythm of this piece does not have any type of meter as it is chant. The tempo is adagio or slow and has a simple rhythmic pattern. On the subject of syncopation, there are a few periods in the piece where the performers does become a bit loud all of a sudden.

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The last piece of the performance was Symphony No. 6 in B minor, Opus 54, written by Dmitri Shostakovich. This piece also has three movements, and they are Largo, Allegro, and Presto. The piece starts off with a homophonic texture, followed by several changes in tempo and dynamics. The middle of the piece was mostly very quiet and slow.

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This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

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As the name suggests, there are two parts to this piece being the toccata followed by the fugue. The toccata is a virtuoso musical form that originated during the Baroque era. There is a lot of freedom for expression and emphasizes the performer’s technical abilities. There are often fast runs and free-form improvisatory-like sections, a quite drastic step in a new direction from strict musical forms common during this time, such as the sonata or cantata. Bach has been recognized as the master of the fugue, a musical form that features a primary melodic line or motive in a contrapuntal manner.

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Debussy broke the mold so to speak in the 20th century of music by breaking away from the typical German style laid out by composers such as Beethoven as he often explored dreamy and distant sound worlds in an effort to stand out amongst his earlier peers of the classical period. He began to be drawn to the sounds of the pentatonic scales, whole tone scale, and sounds otherwise known in Asia as his music in comparison often contained a rather circular motion which broke away from the formers heroic cadential style of resolution. This breaks his music away as his was more of an ambient and distant much like the impressionist art movement happening at the same time being led by the likes of Monet and Van Gough. The Sunken Cathedral by Debussy exhibits many traits of the new impressionistic forum of 20th century composers as he exhibits many methods to place the listener into a dream-like state using melodic variation and connectivity amongst voice leading in order to achieve a watery type effect. This effect makes the listener feel as if they are floating along with the piece itself as he adds complexities to the music with the slow harmonic variation throughout the piece.

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Soon after the first chromatic scale we see an 8va sign which means play an octave higher than what the note actually is, we see this occur a few times within the piece offering a slow dainty sound similar to . Modulation occurs mid way as we see it change to the key of D flat major, at this point it also changes tempo to largo which is extremely slow (slower than adagio) and is also played pesante which means heavy and pondering followed by a crescendo and then diminuendo. Here we see the right hand has stopped playing and it is only the left playing a minor scale and then repeating it once more. After this the right hand comes in playing Moderato Cantabile, which means moderately and singingly, this is an incredible turning point in the piece as we go from suspenseful mature classy music to a more whimsical delicate and happy side of the piece. From this point on we’re exposed to plenty of trills and grace notes.

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First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.

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