Some have coined music as a universal language. Perhaps, the complexity of the notes, the consistency of the beat, the array of instruments, or the flow of lyricism offers this universal appeal. Nevertheless, the unique composition of each song enables it to sustain its own magnetic aura, much like the musical implication in Lewis Nordans Music of the Swamp. Though, many argue Nordans piece suggests merely a collection of short stories rather than a novel, Nordan uses his singsong methodology- a novel-in-stories- to incorporate an anthology of his transformative memory- an autobiography of the way it was.
The same themes and chords cycle in this piece. The chords and continuous chorus do not sound like piano performance. The listeners could be aware of the resonance of the piano. I could notice that the music reaches the end of the work. However, the song could go on moreover, if the composer would keep playing the music.
The stringed instruments were the accompaniment; therefor, they began with harmonics, chromatics, and tremolo for various measures rather than having a moving part. The melody was given to the flutes and soloist, Sami Junnonen, who was also very talented. The song was about 22 minutes long and he had the whole piece memorized. It sounded very sad, but soothing simultaneously. There were visuals around the theater, which made it easier to understand and visualize what Lopez was trying to describe when writing the song.
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).
Brian is playing xylophone in the Jebe and bongos and tambourine in the Schiffman. Both pieces provide rhythmic and stylistic challenges that call for awareness and touch throughout. "Sambach" is a collection of Bach tunes played in the style of a Brazilian Samba in this arrangement. Brian has been doing pretty well with his xylophone part, capturing the right feeling of the music and gradually learning all the notes. He will need to increase his practice time outside of class to do his best at the performance.
I attended to a concert performed by the San Francisco Symphony Youth Orchestra on November 13th this year. This concert took place in the Davies Symphony Hall in San Francisco. I chose to attend to this concert because I have never been to a performance by any youth orchestra, I was curious to see how their performance would compare to other orchestras. The first of the three piece that were performed in this concert was Maenads’ Dance, from The Bassarids, composed by Hans Werner Henze. A variety of instruments were used in this piece, including woodwinds, brass, percussion, and strings.
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
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.
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.
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).