Within the first section of the theme, Fisher Tull displays the trumpet’s wide range abilities. Not only does the first measure of the solo trumpet’s entrance covers a scale of over a fourteenth (one octaves plus a minor 7th) , the first section of this works also requires the trumpet to cover over two octaves in a relative short period of time. In addition, Tull’s use of extensive phrases makes this theme unique. Throughout the theme section Tull does not rely purely on the standard eight-bar phrasing practice. The climax of the main thematic material from the theme section can be interpret as a thirteen-bar phrase. Tull keeps building the anticipation of the musical texture not only by extending the phrase, but also by increase the range and volume of the solo trumpet to reach the peak before going into
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 song ends with Idea B at the start of 4:16.
Schumann’s Op. 94 Romances were composed in 1849, during a time when his mental health was deteriorating rapidly. Originally written for the oboe, the first performance featuring the violin and piano was given by Clara Schumann and François Schubert in a private concert. The three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery.
In Beethoven’s Symphony 5 and his Symphony 9, movement IV are both composed with very simple notes, which are then taken to complex levels which make them what they are today. With that said, this makes it very similar to Franz Joseph Haydn’s Symphony No. 94, the “Surprise” Symphony. The similarities include the complex use of simple notes turned into long, creative pieces of music for both the composer's’ works. However, the differences are not to noticeable, but pretty significant once analyzed thoroughly. For example, the theme for Haydn’s the “Surprise” Symphony are played shortly and the total of four variations, make up the rest of symphony. Whereas in Beethoven’s Symphony No. 5, the symphony begins and ends with the same theme, and the variations (also a total of four) are just there to fill in the gap.
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 pitches are getting higher, while the song is going to the end. From 32:25 to 30:10 the flow is gaining momentum and the song has more powerful sounds until 44:25. The atmosphere of the work is entirely powerful and strong. The other hand, as the song is progressed, the flow loses momentum, and at 58:41, the atmosphere is changed into placidly mood. Ratio-based tuning system has intimately relationships between the other scales and notes. 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. 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
I attended the Houston Symphony conducted by Andres Orozco-Estrada on Sunday, February 18th. It consisted of three pieces by the name of Three Dance Episodes from On the Town, Lago de Lagrimas Concert for Flutes, and Symphony no 7 in D minor, Opus 70. Overall, it was a great experience that I would definitely repeat because it was relaxing and peaceful watching the performance. The crowd was very respectful and the setting was professional and fancy. Everyone was nicely dressed and the workers were extremely helpful in directing the audience to the correct place. The doors were not allowed to be opened during performances which kept the distractions to a minimum.
This theme was hidden again in mm46-47, and it is related to the prime form by (T3I). This transition starts with the last note of m 46 where the primary theme just being heard in its normal order. In addition it was presented in triplet with a normal order [2,3,5,6,9]. Example 3.
Richard Strauss (1864-1949), was a leading German composer and conductor. His orchestral compositions and operas have made him one of the best known composers of the late Romantic and early modern eras. While Strauss did not pay much attention to his chamber music in his later life, in earlier years he tried to compose several different types of chamber works such as a string quartet, two piano trios, a piano quartet and several instrumental sonatas. Now I will introduce his last work of chamber music, the violin sonata.
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). This fourth instance of the A melody is otherwise played the same as in “The Raiders March” until the last two bars, where it immediately jumps into what was the coda of the original piece (1:53).
Music has been around since the beginning of time. People use it for entertainment, expression, and a form of art. When thinking about classical music (and music in general) the one person that comes to mind is Wolfgang Amadeus Mozart. This paper will go into depth of the cultural significance and meaning of one of Mozart’s most famous pieces, Eine Kleine Nachtmusik. Mozart’s music was considered to be commercial theatrical and a form of cinematic exploitation, bringing different elements to music that the people have never heard before in the classical era.
For assignment 2, I choose the piece “Lohengrin: Act III: Prelude” composed by Richard Wagner. This piece is located in the “Types of Listeners I: Introduction and Casual Listeners” section.