Fisher Tull's Rhapsody For Trumpet And Band

He also paired instruments from different musical sections together, such as brass and woodwind, in pairings that were not common and created call and response dialogues between them. This was another pioneer compositional move by Ellington. His concern with rhythm ensured his music always had a swing feel to it and was designed for dancing. His pieces can almost be split into different sections of tutti playing followed by a soloist and Ellington’s capability of getting the right balance helped his status as a lead composer of his generation and of the following generations. He maintained a good working relationship with his musicians and was able to get the best from them.

Byron Stripling is an exceptionally witty story teller, he would tell spellbinding stories about the history of the great Clark Terry before each piece was performed. He would then interact with the audience and tell comical jokes that would cause everyone to burst out in laughter, leaving everyone feeling comfortable around one another. Byron Stripling surprised the audience when he began playing the trumpet beautifully, while conducting the concert. Stripling and the Jazz St. Louis Big Band performed every song to perfection and left you tapping your feet and moving your body to the charming

The introduction is about Duke Ellington’s role in his musical career: composer, bandleader, and pianist. However, due to massive works that Ellington was involving such as compose music for orchestra, ballet, film, radio,

His father was a jazz drummer in “the CBS radio orchestra and the Raymond Scott Quintet” (“Biography of John Williams”). Williams grew up in a musical home, which influenced his desire in learning to play the piano at a young age. After mastering the piano he took interest in learning to play the “trumpet, trombone, and clarinet” (Eldridge). As a teenager, Williams spent his time writing music.

I think that there are two musical ideas in this piece with the pattern AABBAAB. Idea A starts at the beginning and ends at 0:16, then repeats itself until 1:21. Idea B occurs during 1:22-2:17 with a saxophone carrying the melody of the piece. Idea B is started again during 2:18-3:17 but this time, a piano takes the melody. Idea A begins again at 3:18-3:45 and repeats again at 3:46-4:15.

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).

In Edvard Grieg’s “Morning Mood”, a well-recognized piece of classical music, a flute is the first instrument one hears. The beautiful whistle of the flute’s first note strikes a high A, played softly, and the softness continues as the flute travels down the scale, only to play a C and make its way, legato, back up to an A (Morning Mood: Peer Gynt No.1). As the piece continues, violins, cellos, oboes, and many other instruments are softly introduced to complement the flute’s high and quiet notes. It is only when the flute crescendos in the middle of the piece that the other instruments follow along. This continues Grieg’s trend, on this track, of forming the other instrument’s parts around the flute.

Concertino for flute and piano, Op.107 Cécile Chaminade (1857-1944) Cécile Chaminade (1857-1944) was a French composer and pianist. Her mother, a pianist and singer, provided young Cecile with her earliest musical instruction, who at a later age began to experiment in composition. Her father’s disagreement prevented her from attending the Paris Conservatoire, so instead she studied privately with members of its faculty, which included Benjamin Godard. She started composing music at the age of 8 and performed abroad at the age of 16. Chaminade became a successful composer and concert pianist in the early 1900s, with a tremendous popularity in the United States and was one of the first French female professional composers.

The Poem for Flute and Orchestra (1918) originally written for Georges Barrère demands high lyrical virtuosity from the performer. Technical aspects of performance all should serve to interpret the lyrical characteristic of the piece. Poem was first performed on November 16, 1919 by the New York Symphony Orchestra conducted by Walter Damrosch with Georges Barrère as the flute soloist. The atmospheric opening is heard as a refrain throughout the work, there are sections of dense chromatic language, polymetric dance, and enlivening technique.

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.

• Music: • Music was composed by Igor Stravinsky • The composer contributed to the libretto. • Violinist was Marcel Darrieux • The score of Apollon Musagète is written for strings only and is consistently classical in style: dry harmonies, an abundance of perfect chords, rare polytonal superimposition. Those are borrowed from the past (from Lully and Delibes), but divested of all historical reference to achieve an abstract purity. • Stravinsky began Apollo on 16 July 1927, and completed the score on 9 January 1928.

The dynamics for “Caravan” is mostly mezzo forte, and there does include sections of the song where the trumpet builds up and is full forte. The Tempo of this song is 118 BPM metronomes and in the key of C Major. A soundscape of unprecedented exoticism is the texture of this piece that invokes feral

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.

The piece comprise of many musical instrument particularly string, brass, and woodwinds. The composer also use repetition in composing as the first part is repeated at the end of the piece, but with more sophisticated dynamics and timbre. In my opinion, the piece by Richard Wagner is a very good example for the topic of Basic Musical Concept that introduce many essential parts like referential listeners and structure of

Schubert’s No. 11 Frühlingstraum from Winterreise Hello friends, and welcome to my blog! Today, I will be sharing with you guys a really nice art song by romantic composer, Franz Schubert. Schubert’s Winterreise (Winter Journey), published in 1828, is a song cycle of 24 movements for voice and piano.