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.
In Rubenstein’s interpretation of the Mazurka, we get a more cohesive journey than other comparable recordings, namely Vladimir Horowitz. This is due to the general sense of pulse that continues throughout the piece, yet is still ebbs and flows. When he takes time to bring attention to a specific chord, note, or resolution, it builds anticipation for the listener. In the symmetrical minor third progression, he speeds up as he reaches the pinnacle of the passage which propels not only the rhythm, but the harmony as well upwards and upwards, making me wonder when it will come crashing down in beautiful dark wet flames.
The New Orleans Rhythm Kings changed and influenced many people’s lives in the 1920s. They even helped make the Roaring Twenties actually “roar.” Their band helped create the essential cornerstone of the classic Chicago style of jazz ("Tin Roof Blues: The Story of the New Orleans Rhythm King 's"). Not only did they make a difference in music, but in society as a whole. They did when they put out the first “racially mixed” jazz record in 1923 with Jelly Roll Morton, an African American jazz composer and pianist ("Tin Roof Blues: The Story of the New Orleans Rhythm King 's", "Composer Jelly Roll Morton, ragtime to early jazz").
So that it can be easily recognized and easily interpreted by the listener, so that they focus more on the beauty of the music. I would also like to make my own composition very regal, and very dramatic. Although I wouldn’t want to make voice the highlight of my composition, want I would want to do is section my composition where different components are highlighted- and then accented by other instruments. So my music still has a Baroque feel but with a modern twist to it. I want to do so because it is always good to look back at the past and bring back to the present, and by doing so I would be changing a Baroque characteristic (voice being the highlight of the piece) but I am making it modern at the same
In her melody, performed by violas and cellos. The second theme, despite the three-lobed size, gives the impression of a marching song. Thanks to the powerful sound - when presenting the theme in C major - it seems that this song is sung by more than one person, but by a mass of people. It was this type of song that Beethoven had to hear in his youth. The second theme contrasts with the first not only in character, sonority, orchestral coloring, but also in tone.
However, in my opinion, Steve Reich, and in fact all the American minimalists, influenced the new popular music, especially electronic music that is also built upon models and shorter musical phrases, which are repeated for a large number of times. Steve Reich’s influence over today’s music is one of the biggest in the musical history. The timing and unique style of Reich’s music impacted other musicians during his time and still influences musicians today. Not only did he give a sustainable way of composing new classical or contemporary
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.
Music is the soul of a song and to have music full of life and desire to reach out it has to have a few elements in place. These elements can be categorized as follows: 1. Structure: this is about the pattern or structure that a song needs to have. Listen to any song on your music player or radio and you will automatically be able to understand that most of them have a structure, a pattern, an arrangement.
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
The Harmony that’s created in the songs, by different instruments, or just one, came from two or more notes; that they played at the same time. Harmony is just as vital as melody, usually done, by chords variations. The harmonies the band played made the music seem fuller and richer and more satisfying to the listener.
Armstrong’s Hotter Than That had a variety of instruments playing in the piece, but the clear focus was on the interplay between Armstrong’s trumpet and scatting and Lonnie Johnson’s guitar. The trombone, clarinet, and piano were used throughout the piece to add a variation in sound to prevent the piece from sounding to monotonous. One section I appreciated was the end of Armstrong’s first trumpet solo transitioning into the clarinet solo, which was accentuated by the clarinet playing a single, syncopated high note. Throughout the clarinet solo, Johnny Dodds utilized many blue’s slides, which I think added an interesting dynamic to this otherwise concise piece. In regards to Armstrong’s solos, both trumpet and scatting, his improvisational
Secondly, Staryhorn’s work often contained greater tenderness. As the saying of bassist Aaron Bell, a one time Ellingtonian, “There’s so much more sensitivity and complexity in Strayhorn’s composition than Ellington’s”. The lyrics of “Lush Life” demonstrated the born sensitivity of the song writer. They created a worldly despair so vivid and touching that it was hard to believe that the song was written by a 16-year-old teenager. Being a trio-minority-African American, gay, and open about his sexual orientation, Strayhorn lived under pressure and had his own