Crunchy Granola Suite’s music is by G. Harrell ("Fosse - the Musical."). This specific piece of work is recognized by many dance critics to be one of the strongest pieces in the revue. The exciting piece, danced by twelve dancers is described as a showstopper. Two company members sing Crunchy Granola Suite: Brad Anderson and Eugene Fleming. These two members have been seen in previous numbers dancing, which is yet another example of the versatility Fosse expected from his dancers.
Today; I am going to write a little comment, about an old song, it has two variations, which is “Take the ‘A’ train,” according to (JASON PARKER • APR 3, 2014.))) It has written by Billy Strayhorn for the Duke Ellington Orchestra. This song signature for the Duke 's name tune. Ellington is considered feasibly the best composer and dance orchestra leader in the history of jazz, having passed his big band for half a century, touring the world constantly and turning out a body of work that holds no equal. In fact, many put Ellington in the same year as Beethoven and Mozart as a composer. You could listen to his music, for a lifetime, and learn just about everything there is to know about music, and feel as you in the culture of the 20th Century.
Penny Lane released as double side with strawberry fields forever in February 1967 by the Beatles during the Sgt, Pepper sessions (Penny Lane | The Beatles Bible. (n.d.). It was originally written by Paul McCartney but credited to Lennon -McCartney song writing partnership. The song was about a street near Lennon 's childhood home in Liverpool, England. Penny Lane is in the key of B Major with 108 BPM and a time signature of 4/4. Paul McCartney accomplishes a difficult song writing task as he places the verses In the key of B and choruses in the key of A, then changes back to B using ' 'E ' ' as the pivot chord.
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).
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.
I attended the Student Jazz Concert at the Bruce Owen Theatre located on the campus of OCCC on October 17, 2017. The group that was performing consisted of students from the Southeast High School and OCCC. I decided to attend this concert from the recommendation of my teacher, Professor Boyle. He had mentioned to the class that it would be a wonderful jazz concert and would be worth our wild to attend. He also offered extra credit points to attend, so this helped in many students decision to attend.
With only a few weeks remaining in this course and with all the different quizzes and discussion posts we have done I can say since my last concert I attended I have grown more comfortable with the styles of music we have went through. For my second Concert Report I really wanted to go to another performance that had an added feature to it to make the performance that much more enjoyable. Right after submitting my first concert report I started looking through the concert calendar to see which ones intrigued me the most. My attention was instantly caught by one performance happening right before Thanksgiving break began. This performance happened to be the film Indiana Jones and the Raiders of the Lost Ark with the orchestra performing all of the music that is played throughout the duration of the film. Like the previous performance I had attended this performance was once again conducted by the Maestro Jack Everly. The performance would be strictly the songs from the hit movie Indiana Jones and the Raiders of the
The concert I attended, with my sister and friend, was held at FAU’s beautifully quaint University Theater. The room was only half full with student, professors, and various other adults. The Fifth House Ensemble performed three different “acts”. The first was a few different comedic opera songs about “Employees Wash Hands”, “Cascading Water”, and “Lipstick”. These songs were comicial with a refreshing twist. Megan Ihnen was the solo singer throughout the pieces. The second act was a concerto featuring three soloists. A Pianist, Cello player, and flutist. before they began the cellist introduced herself and told a little about the song. As she told us about the songs, she related it to her eighteen-month year old son, who is curiously learning
A comparison of the Beijing Opera and the Italian Opera reveals a significant contrast in almost all fundamental areas of music between the two examples. Because of cultural influences, the two performances share little commonalities, as the timbre, medium, elements of pitch, rhythm, dynamics, form and phonic structure are definitely not similar. For instance, the musical and physical performance dynamics of the Beijing opera music are forceful, the timbre is loud, tinny and harsh, the rhythm is lively and vigorous, while the Italian Opera music has a gentle dynamic, steady and rolling rhythm and an emotionally deep timbre. One commonality that is noted for both examples, is the powerful delivery of the entertainment.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone. The first movement of the Swan Lake Suite, Scene, which began with the violins playing with an oboe solo on top. The oboe was playing various crescendos and decrescendos at a mezzo piano dynamic and the tempo was moderate. This ends with the high woodwinds playing a string of the melody, passing it to the low brass with the strings very quietly in the background and then what seemed to be a diminuendo. The second movement of the Swan Lake
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 concert that I attended was the UIC Wind Ensemble concert on October 17, 2015 at 7:30 pm, in the UIC Theater and was about an hour to two hours long. The fist performer I will introduce is Jose Oliver Riojas, which was also the conductor of the concert. Riojas is the assistant professor of music at the University of Illinois in Chicago and the conductor of the Wildacres Saxophone Ensemble. Some other performers was The New Century Saxophone Quartet, Chris Heming way (Member of the Stan Rubin Orchestra), and Ashlee Hardgrave (“Vocal Powerhouse” Soprano Soloist). This concert was played by UIC students. The Composer, which was a guest, of the concert was James Syler. Syler compositional interests were between orchestra, wind ensemble,
On Tuesday, October 27th at 7:30pm, I attended the USA Percussion Ensembles “USA Jaguar Drumline and Front Ensemble Fall Concert” at the Laidlaw Recital Hall. The concert contained five different pieces of music. It also contained five drumline and front ensemble pieces. The first piece of music performed was called “Apple Blossom (1972).” This piece was composed by Peter Garland (b. 1952). This was also the longest piece played out of all the other pieces of music. There were elven people playing on five different xylophones. The dynamics of this piece was played in piano and in pianissimo throughout the entire song. This piece was dramatic yet calming which caused me to feel somewhat depressed. The movement of this piece was conjunct and
Dr. Sheri Neill introduces herself and explains that she has different degrees in music and education from Texas Tech University, Stephan F. Austin University, and University of Missouri. Then she introduces Cheryl Lemmons, which is the pianist that was sitting at the piano located right front of the stage. There was a choir that was located center stage with the conductor directly in front of them. The choir consist of only women, which seemed to be alto and soprano singers. They began with their first piece “Wir Eilen Mit Schwachen, Doch Emsigen Schritten” written by S.J Bach. The song starts with the piano playing a nice melody as an introduction, which has a steady beat as well as steady tempo. Then the sopranos began singing softly with the altos following behind imitating and singing the words with a lower pitch. The piece seemed mostly polyphonic, yet there are many times when it is homophonic and
The stage was set up with five saxophones, two altos, two tenors, and one baritone, stage front left with four trombones directly behind them, and three trumpets at the back, the electric guitar was in center stage with drums and bass located behind, the piano was stage right with Professor Scott Wilson, the guest artist, in front of the piano. The songs the Big Band played were fantastically preformed balanced with no parts sounding to loud or soft, the trumpets were the major surprise there, but the highlight was Professor Scott Wilson E.V.I., or Electronic Valve Instrument. The E.V.I. sounded like a trumpet and an electric piano in one instrument, the notes were controlled by three buttons imitating valves on brass instrument and a knob at the bottom to control the pitch of the note, a unique instrument for Jazz.