These two themes bounce back and forth, appearing and disappearing just as quickly. The first movement then comes to a halt with a coda, which prolongs the ending and serves as the bridge to the second movement. The second movement starts off with the brass producing a rich tone as they each unite in several homophonic chords. After they succeed in creating a grave mood, the English horn enters to play its modest solo and introduce the first theme of this movement, which will be revisited on several occasions. Many new themes emerge as melodies are echoed from various instruments, allowing for layering of the piece.
The pieces contrasted the first one in many ways. This piece had a more individualistic approach with various instruments getting the opportunity to play alone, leading to a difference in textures throughout. In addition, there was more disjunction in these pieces than in the first. Each movement was unique, yet they all flowed together well and had re-occurring themes. The first movement started out very solemnly with a slow tempo and quiet dynamics.
Section B is faster than Section A. It has faster rhythmic and harmonic motion. The clarinet plays a slurred descending line similar to the beginning accompanied by sixteenth notes in the piano. The sixteenth notes switch to the clarinet before the key changes to E Major. Section A melody line returns in the piano in E Major, which changes to C Major, and then back to A-Flat Major.
One of the important changes made in this symphony was the replacement of the third movement with a scherzo. A scherzo is generally in the triple meter of the minuet, but tends to be lighter and quicker than the earlier dance movement. The final movement is Allegro Presto. With the opening chord of this finale, it establishes the key of major. The first three notes are simply the tonic chord of C major followed by the distinctive continuation of the theme with quicker, attached notes, dotted notes, and scalar passage that includes melodic sequence.
The articulation was smooth throughout most sections. However, some sections there was a switch to separate articulation mainly showed in the violin, such as the B is separate and F section ends with separate. The piano sections were separate, as well. The rhythm for most part was split in half the beginning half of the piece the rhythm was slow. A contrast would happen in the piece making the rhythm fast but would return to a slow rhythm in the next section.
[8.e.0.2.3] as showed in example 5. 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.
Each piece has a consonant harmony that is pleasing to the ear, and a homophonic texture. The pieces all carry some of the basic melody as well, with changes in format and differences in rhythm. Garland’s melody begins with a cheerful jump in octave on the first lyric of the song, just as Kamakawiwo’oles does for the first two notes. Unlike Garland’s version were each stanza returns to the base or tonic note of the octave, Kamakawiwo’ole ends the stanza climbing to the highest note of the octave introduced in the beginning. In Tatum’s version the main melody is often lost under the many harmonies and embellishments he provides, in contrast to Kamakawiwo’oles were the melody is always present.
This goes into the chorus with the sound of cymbals crashing, where there are short breaks of breath between lines 1-2 and 2-3. Between the chorus and the second verse, there is a break where the melody cuts out and all there is left are instrumentals, making it a polyphonic texture. The harmony accompaniment to Nick’s melody is a mix of drum beats and mild guitar riffs. The tone color represented through the use of instruments translates into a somber and earthy mood. The beginning starts off at a piano dynamic level and then crescendos into a forte by the chorus.
It remains quite repetitive until the end of the piece. “Entry of the Gods into Valhalla” is a piece of art that is performed in an instrumental fashion by an orchestra. Listening to this song reminded me of someone enjoy a day, and suddenly something goes wrong which inflicts a sense of fear. The music was quite soothing in the beginning, but towards the end began to put listeners on edge by the eerie sounds being produced. I think this was a great choice for the opening piece because it captured the listener’s attention.
49 by Tchaikovsky. The tempo of this song was adagio and the texture for the beginning of this song was homophonic. The beginning of the song sounded sentimental to me for whatever reason. Unison of the violins and violas was absolutely beautiful in my opinion. However, suddenly the woodwind section, specifically clarinets, jumped in and a polyphonic texture between strings and woodwinds occurred.
As a result, the faces of audience members were rather somber and soft, reflecting that they felt the emotion Schumann intended to release in Arabeske. This piece is played today, because it still easily draws emotion that changes the mood of the entire hall. Even though Arabeske was composed in C Major, the mood it set was not characteristic of such a key. Graff may have placed this piece first to elicit an emotional response from the audience, or to begin to tell a story through the order of the pieces in the recital.
The only obvious difference I heard was the expression in the pieces. While Armstrong was bombastic and syncopated, Beiderbecke had a smooth approach to his notes, and would utilize blue’s slides to transition between the notes. Another difference between the two players was the range at which they would play in. Armstrong was all over the place, comfortable at super high notes and low notes, whereas the only situation where we heard Beiderbecke play a series of extra high notes was during his dramatic “outburst” partway through his solo. I do think racial origins did affect the way these pieces were performed.
The tone colors of this piece were pingy and echoey. The fourth song “El burro” had a smooth short rhythm. The song was played in andante and mezzo piano. This song also had sadness, tension, and sounded cold or even threatening. The last song “A Fiddler” began with a joyful and funny vibe, but then it switched to a tense state.
Ella’s version is a complete jazz retooling, with a backing piano taking center stage along with a slow drum beat keeping time with her crooning voice. There is a quieter, less booming quality to the backing music, filled with lots of variation and scattering in Fitzgerald’s vocal interpretation of the lyrics. An upright bass fills in the cracks with a consistent chord progression that creates a more upbeat feeling in the song’s structure. Ella’s version is definitely meant for the audience to be dancing along to the groove, rather than quietly sitting in their chairs listening. Tony Bennett’s gentle swing version recorded with his jazz group in 1964 follows this pattern as well; the tone in this version is triumphantly cheerful, as this band plays the song courageously and carefully creates a relaxed, danceable feeling.