Tempo Essays

an introduction, which has a steady beat as well as steady tempo. Then the sopranos began singing softly with the altos following behind imitating and singing the words with a lower pitch. The piece seemed mostly polyphonic, yet there are many times when it is homophonic and

puts them in a contemporary framework. Balmages also uses the Tritone. He surrounds the Tritone with spooky harmonic language. The piece is loosely based on A B A form but with a big finale right before the end rolls around. There are not a lot of tempo or speed changes

today. This shows the evolution of this song since 1950. Enrique Jorrin wrote this song with the indication that it is made for accessibility. We discussed in class that this song is a lot more simplified and the melodies are small. The tempo is a medium to fast tempo, which makes it nice and easy to dance to for Americans. This is a great song that was written to spread the joy and appreciation of the song to those who are not fluent in this type of Latin American

you have to give your best energy to give your best show. Control your energy, so your not getting tired and running out of energy at the end. Basically all of movement four has very high intensity tempos with lots of movement. You need to show the audience that you 're not giving in to the fast tempos and movement. That you can do it without getting tired and giving up. Having pride and loving what you do on the field, whether it be your love of music, marching, or the concept of your show can greatly

played at a slower tempo that I compared to adagio but later in the piece the tempo increased in speed similar to allegro and then slows back down to adagio. Mozart also made the sonata very repetitive with many crescendos and decrescendos throughout the piece. The piece includes solos from both the

Description of the Music One O’Clock Jump: The song begins with the piano player, drummer, and guitar playing a moderato tempo. It was immediately followed by the trumpets, trombones, and saxophones which immediately changed the tempo into allegro. The dynamics changed quite fast as it changed into mezzo forte when the other instruments began. However, it would go back and forth from moderato to allegro. Even the dynamics would get to forte and suddenly fall into mezzo piano. There was points during

gradual crescendos throughout the piece. The latin vibe leaves momentarily and now sounds like something heard in NYC. The tenth piece, April in Paris, just like the other pieces had gradual crescendos and decrescendos. The piece included a slow tempo. I am not quite sure, but I believe I heard Merry-Go-Round played by one of the trumpet players. The ending to the piece had a continuous pattern of crescendos and pauses. Consequently, the audience became confused because they didn’t know when it

Tempo: (Describe the speed of the music, compare it to the other song.) The tempo in the song Back in Your Own BackYard by Billie Holiday can be described as a moderate to medium speed. The song is not extremely slow or fast, it is just in the middle. This jazz song is fast enough for it to be upbeat, but slow enough to allow the vocals to take its time and have range. Compared to “Flying Home” by Ella Fitzgerald, this song is a lot slower and less fierce. What are the lyrics about? The lyrics are

Autumn First movement of Rocking Mirror Day break, Toru Takemitsu The piece includes many elements makes it sounds mysterious, elements such as timbre, dynamics, tempo change, and short silences, however, the opening theme which is the primary theme of this movement appears throughout the movement and holds it together. In addition, Taksemitsu used subsets derived from octatonic scale, and due to the nature of the octatonic scale, any transition or inversion of this sets might leads to other

happy like a celebration in measure 13 with the slurred notes of the saxophones or measure 41 with the staccato notes from the band. The tribute section of the song (measure 54) was played very nicely accenting the sad mood of the literature. The tempo got rough at measure 91 with the change as the drummers, the director, and the band were not entirely together for a few measures. The phrasing was impeccable at measure 31 because the saxophones did not take a breath between measure 32 and 33. The

piano are tacet for most of the piece, time disappears for these musicians as they have now become listeners instead of performers. Due to the moderate tempo, this movement begins with a feeling of suspended time and creates an atmospheric and relaxed feeling, although it transitions throughout the movement to a feeling of active time as the tempo accelerates along with the energy. A technique that Migo uses which is very innovative in respect to time, is letting the performer approximate how long

“Somewhere Over the Rainbow,” has been performed by many inspirational instrumentalists, and singers, who have added their own personal touch to the classic. Israel Kamakawiwo’ole’s version of “Somewhere over the Rainbow,” can be compared and contrasted with Art Tatum and Judy Garland’s version in many ways. This short essay will include how each artist used elements of music differently, including texture, timbre, melody, harmony, and rhythm. First, the timbre of Garland’s voice is soft and sweet

thirty minute symphony. The hall began to fill with people. The lights dimmed, and they began to play. They played three pieces. As they played, no one made a sound. I loved seeing the violinist play. They were on point. Throughout all the pieces the tempos started out slowly then they got faster. I love watching the musician’s arms go up and down at the same time. It was amazing how they turned the pages at the same time. You could definitely tell that the orchestra practiced and practiced. The musicians

On November 15, 205 at 2pm I was able to see the Rutgers Percussion Ensemble. I was very interested in this show, because I have never been able to see a group of only percussionists perform in the same space. The first piece they did was called Ionisation, which was written in 1929. There were thirteen musicians on stage playing various instruments. This song began with a rolling unpitched sound coming from four snare drums with the claves. This idea was an interesting start, because it caught the

Armstrong’s Hotter Than That had a variety of instruments playing in the piece, but the clear focus was on the interplay between Armstrong’s trumpet and scatting and Lonnie Johnson’s guitar. The trombone, clarinet, and piano were used throughout the piece to add a variation in sound to prevent the piece from sounding to monotonous. One section I appreciated was the end of Armstrong’s first trumpet solo transitioning into the clarinet solo, which was accentuated by the clarinet playing a single, syncopated

In examining the portrayal of Andrew Neiman character by Miles Teller in the film Whiplash who is an ambitious jazz student at Shaffer Conservatory that plays the drums, the audience comes to a realization that he plays the role of Andrew in a convincing manner that effectively reflects a student that want to become famous at jazz. Miles timid way of acting especially through the use of verbal actions like in the open scene of the movie “I am sorry. I am sorry” (at 2:20) (Whiplash) greatly contributes

In the summer and fall of eighteen zero two, Ludwig Beethoven worked on this magnificent symphony. On the fifth day of April in eighteen zero three, this beautiful symphony was performed for the first time at Vienna’s Theatre an der Wien at an all-Beethoven concert. On the twenty second day of April in eighteen forty-three, the fantastic symphony had it’s first American performance at the New York Philharmonic. Two of many instruments are used for this wonderful symphony: flutes, trumpets, oboes

Sarena Chandler Dr. Wakeman Orchestration & Arranging Listening #3 The Music For Strings, Percussion, and Celeste written by Bartok, is theoretically unique and composed in a very different way. This piece is in four movements, Bartok intentionally makes the first and third movements slow, and the second and fourth fast.The first movement is a slow fugue, with a time signature that changes abruptly. The piece was written without a key signature, and is instead centered around the note

Alan Sennett gives more interesting insight about the power of imagery in his journal article, Film Propaganda: Triumph of the Will as a Case Study: Of particular significance and artistic merit is the aforementioned opening sequence that constructs Hitler as a god-like figure descending from the heavens through the clouds over Nuremberg to visit his adoring worshippers. The powerful religious imagery of the first part of the film surely could not have been achieved simply through competent montage

In the year 2012, the National Symphony Orchestra of Cuba made a historic visit to the United States. I opted to witness the orchestra in the town of Aiken, South Carolina. I was extremely excited to experience the reaction to the orchestra in the South America. The performance of the band was scheduled by 9 pm on Tuesday, 2ND November, at the Etherredge Center, Aiken. As I reached the center, I saw that a studio theater was prearranged as the green room for the band. Some snacks including sandwiches