In 'So What', the horn section plays the same role. In this piece, and in most Cool Jazz pieces, the homophony proves as evidence of the simple structure. (4) In 'So What', there is a bass motif that forms which can be compared to the many bass ostinatos found in Baroque music. (1) Also another comparison is that both Bach and Davis use the harpsicord/ piano as a means of improvisation, which is very common is both cultures. (2) Another smaller musical link that I have realized is the instrumentation.
From the first few lines of the poem, the inspirational and restorative powers of his music are eminent. i i i i i i i i i Orfeo mest of ani thing Lovede the gle of harping. (25-26) i i i i i Orfeo’s muscial ability is a result of his own “wittes-scharp” (30) and it is evident that his musical ability takes
Goody, Manny W • Flutes • Piccolos The melody narrates the story about Penny Lane over steady piano chords. John Lennon and George Harrison play the background harmonies whilst George Martin provides the score for both brass and woodwinds. Penny Lane has a similar chord progression to heart & soul by Hoagy Carmichael but with a walking base and a rolling melody (The Surprising Chord (n.d.). In the verse, Paul changes the key from B major to B minor which creates contrast. In a quiet and subtle way, the melody and harmony are flexible due to the constant key change between the verses and the chorus while the refrain has a melodic flat seventh.
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. The songs were based on poems written by German poet, Wilhelm Muller and is the second song cycle Schubert composed based on Muller’s poems.
“Slide” is a method in which a sawed-off glass bottleneck or metal tube is slipped over one of the left-hand fingers in order to be able to slide over the strings from one fret to the other (“Frets” are the thin pieces of wood that are inlaid horizontally across a guitar neck, indicating where the fingers should press in order to create specific notes, or pitches.) The use of both the bottleneck and the bending of strings by the left hand delivers the player with the capability to slide from one group of pitches or chord to another. This sliding or “bending” of pitch is also a hallmark of the blues vocal style. Johnson’s singing style also proves the “holler” that is strongly characteristic of Delta blues and a number of other African-American musical
Grand Duo Concertante for Clarinet and Piano op. 48 J204 1st Movement in Allegro con fuoco German composer Carl Maria von Weber (1786-1826) was an influential icon in the Romantic Era, a period between the 18th and 19th century in which personal expression, literary ideas and emotions reached its apogee. Weber was a composer, conductor and an expert pianist and was renowned for his works in opera, compositions for piano and compositions for woodwind instruments. His clarinet compositions which include two concertos, a concertino, a quintet, variations on a theme and a duo concertante, are performed even today. The clarinet developed in Weber’s time to play more notes and to play scale passages more smoothly, and also developed from a band instrument into a
Sandburg opens his poem with a line of alliteration, saying, “Drum on your drums, batter on your banjoes” He also uses onomatopoeia to imitate the musical sounds often found in jazz music, stating, “...let your / trombones ooze, and go husha-husha-hush with the slippery / sandpaper” Sandburg appeals to the reader’s senses to set the mood and atmosphere of the poem while actively engaging the reader in a realistic image. He repeats the use of onomatopoeia to reach its climax, starting with, “...bang-bang!...” Conversely, Sandburg slows the poem to its conclusion when he ends with, “...now a Mississippi steamboat pushes up the night river with a hoo-hoo-hoo-oo…” By utilizing both onomatopoeia and alliteration in opposite scenarios, Sandburg accentuates the balance between both views of jazz that he conveys in the
3.1 Sarcasms Op. 17 No. 5, mm.1-9 3.1.2 Use of Quartal Harmony According to the Oxford Music Online, a quartal chord is considered a significant sign of the harmony in modern music: quartal is a “modern term for harmony in which chords are constructed on basis of superimposed fourths.” In Sarcasms Prokofiev makes the music sound strident through the use of quartal harmony. In measure 5, the quartal chords appear in the last eighth of left hand, which are comprised of a perfect fourth and a triton (Ex.3.2). They keep repeating until m.10 building a sense of uncertainty, instability, and agitation.
Throughout the melody we can see articulation with use of short slurs and use of staccato. There are scale and arpeggio patterns best seen in bar 17-21, ‘0.26-0.33’ as well as passing notes, bar 3, ‘0.06’ and grace notes, bar 31, ‘0.42’. Tonic and Dominant chords are used frequently throughout and can be seen in the opening phrase going from Eb to Bb to Eb, Ι to V to Ι. The piece ends in a perfect