This playes for the first two bars and then an inversion of the E flat minor is played to add some variation. Within the first 4 bars of the Imperial March, the main famous trumpet line comes in which is what the whole piece is structured around. This articulated melody line goes against the ostinato to fill the spaces when the ostinato isn’t being played. Bar 37 brings in the first ‘half step modulation’ up to B flat minor. Bar 44 has the next ‘half step modulation’ to B harmonic minor and at bar 46, bringin it up again to C harmonic minor and then a resolving modulation up to G minor.
This picture shows a team of determination. This picture is the rivermont raiders All star team including Ethan McGill and a bunch of his friends. This picture tells a story that is story book quality and is the pride and soul of all the alumni of the raiders team. On the day of June twenty fifth of 2013, a little twelve year old all star team is on the field fighting for their right at the championship. This team was known to all as the Rivermont Raiders.
The novel, The Day the Cowboys Quit, by Elmer Kelton is not a typical cowboy story filled with waving guns and violent fights. Instead, this story shows what the real life of a cowboy would have been like through the story of Hugh Hitchcock. The Day the Cowboys Quit is based on a cowboy strike that occurred in Tascosa, Texas in 1883. Kelton based his fictional story on the causes of the strike and what became as a result of the strike. This paper will explain historical events concerning the cowboys and depict their true lifestyle which contrasts the stereotypes normally associated with being a cowboy, as well as summarize the novel The Day the Cowboys Quit.
The South got the victory over the North Saturday in the 42nd annual Lions All-Star football game at Tracy High School's Wayne Schneider Stadium. But, perhaps an asterisk should be put next to its 51-38 win. To prevent a blowout, when a team has more than a nine point lead, the losing team will receive the ball after every touchdown, regardless of who scores. That rule gave the South extra possessions, which helped it fight back from a 38-21 halftime deficit. “That rule just killed all of our momentum,” said a frustrated Zerek Saldivar following the game.
The Low tubas and bassoons, continues playing the chant in long even notes, with bells accompanying, Higher horns and trumpets also continue playing the chant, but in a faster tempo and the high woodwinds continuing the chant in a fast dance tempo (Kamien, 2014: 298). Berlioz thus dared to parody a sacred chant by altering it into an insignificant melody, as he had previously done just a few bars earlier with the Idée fixe and therefore Berlioz conveys the insanity of a witches dance in a fugue-like section (Kamien, 2014: 297). There are violin syncopations, with piccolo and altered strings between the dynamics forte and piano to the repeated chords. The Witches’ dance is introduced in woodwinds and imitated with low strings and violins (Kamien, 2014: 298). The brass section of the orchestra plays rapid chords in fortissimo that are repeatedly answered by descending high woodwind section that descends to pizzicato in the cello and bass section of the orchestra.
It remains quite repetitive until the end of the piece. “Entry of the Gods into Valhalla” is a piece of art that is performed in an instrumental fashion by an orchestra. Listening to this song reminded me of someone enjoy a day, and suddenly something goes wrong which inflicts a sense of fear. The music was quite soothing in the beginning, but towards the end began to put listeners on edge by the eerie sounds being produced. I think this was a great choice for the opening piece because it captured the listener’s attention.
It is forceful and heavy and is very different to the accompaniment of the first section. The accompaniment has a sudden crescendo from the pianissimo of the first section to the mezzo forte of the second section, which shocks the audience. The harmonies are also more chromatic and dissonant, adding to the unease and discomfort felt, both by the character and the audience. In bar 23, instead of the dyads, the left hand begins playing octaves while the right hand plays chords, making the piece feel more menacing. The crescendos, diminuendos and sforzandos in the accompaniment, and the harmonies accurately portray the second and fifth stanzas of the poem, where the character is pulled from his lovely dream and sees his reality, where it is cold and he is alone.
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).
Although this is somewhat long duration compared to other music that listened before, the segment of the piece is played repeatedly so that I used to observe this music. The pinches in this work are unfamiliar to the audiences because they are not standard chromatic scale, which is equal temperament. The unique tuning system and the performance style increase the tension of the
Keghan Delacenserie MUST0802 The Art of Listening Audio Critique #1 – Meredith Willson’s “Till There Was You” 1. Musical characteristics: a. Melody: After an eight-bar introduction where Marian explains why she finally decided to meet up with Harold, she starts singing an A melody: “There were bells…”. After she repeats the A melody with a different set of lyrics – “There were birds…”
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.
This Chaconne begins with a singing violin melody almost beguiling in its character, with a natural sense of ebb and flow that traverses numerous episodes. With the addition of double stops and chordal textures, the intensity gradually rises until it reaches the breaking point where the violin charges forward through a frenetic, virtuosic passage. The tension and register continue to rise to the point where the violin sounds as if it is screeching. The drama resolves in the brief coda as the frantic energy unwinds and the violin fades away into the
The melody of this song described as restlessly chromatic and undulating, a swaying Arabic-sounding tune. The melodic line is filled with emotion and oddly unbalanced consisting of seven alternating sections of held tones and movement. The harmony is added behind the melody is dissonant but simultaneously lush. The rhythm was played with in Ella’s version making the classic song her own giving the clarinet a smooth solo. The simple rhythm of the song has an AABA pattern it sticks too.
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.
It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the
