The second theme is first found in the bass clarinet and tenor tuba. The themes are said to mimic the voices and feelings of the two characters. The piece doesn’t always have a clear-cut form, but it uses elements of concerto and variations. The first theme can we heard in the form of windmills as seen in measure 60-78. The sound is formed by a conversation between the cello and bass clarinet.
I remember us strolling through the streets late night the day before our flight, when she suddenly asked, '' Do you want to stay? '' Deep inside of my heart I wanted to, but I was hesitating. I was terrified of obscure future; nevertheless, we have missed the flight the next day, intentionally. I still remember that feeling of emptyness inside of me that day-it was hard decision. Larisa and I have found a small room for rent in Brooklyn.
This piece has three movements, Allegro moderato, Adagio di molto, and Allegro ma non tanto. This piece starts off with a slow and expressive solo by the soloist, Alexi Kenney. The change in dynamics, the use of vibrato, and other techniques enhanced his solo. The orchestra then plays with a homophonic texture with some tempo changes. A few fast solos and a few slow ones followed.
I cannot believe we have another marching band rehearsal. I have to walk out to the school’s marching band practice field again for the third time this week, just to go over what we already did yesterday. It is hot, humid, and I am tired. We go through all of this work, and we do not get anything from it. Why do we have to work for five hours a week for a ten-minute show anyway?
Another thing that he did was enhance the melody of clarinet, through his Clarinet Trio in C for Viola and Piano, the Clarinet Quintet, and the Clarinet Concerto. He loved the tone and character of the instrument, but through these works, he brought these characteristics out a bit more and “creates an apotheosis of melody, in which one tune seems to flow out of another naturally, spontaneously, organically, as though the melodic material were breeding within the tissue of the work” (Johnson 115). These works aren’t just pieces of
This symphony did a great job of being quiet if their part wasn’t the melody or harmony. For example, in the first piece by Tchaikovsky the low brass had the baseline and the woodwinds had the melody, so the low brass played at a piano level, while the woodwinds played at a mezzoforte level. Throughout the first song, the orchestra did a nice job of going from forte to piano in an instant. Also, when they gradually grew or dropped down their dynamics, they were in unison. Towards the middle of the piece, there was a round starting with the brass.
In the exposition, it had two themes and a transition. There was also a couple of solos with the clarinet. In the development, there were three sections and a transition. The violas played a repeated melodic motive while the woodwinds play the “Going Home” theme twice. In the Recapitulation there were two themes and a closing section.
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
Allegro The themes are all lyrical. A very peculiar beginning on a repeating pedal note D which strangely acts not as the tonic but the root of dominant 7th to the key of G major. The first right hand chord (C-natural - F-sharp - A) comes highly unexpected.
The amiable melodies blown by Jones, who opts for a post-bop language, encounter Ortiz’s titillating voicings. The pianist’s movements demand clever and intuitive responses from Waits, who nails
In mm. 11-12, the vocal imitates the piano but with changes in the register resulting a change in the contour (fig. 17). A higher pitch with a longer duration (F5) on the word Schmerz (“pain“) give special importance to the word, and a minor 9th leaps from Bb3 to B4 followed by a diminished 5th leaps from B4 to F5 bring about an additional emphasis (fig. 17).While the left hand part of the piano plays a descending line, the right hand part provides a contrast by playing an ascending line until it hits the highest pitch Eb7 in m. 12 (fig. 17). The Cb1 and Eb7 in the piano and the F5 in the vocal provide contrast and amplify the word Schmerz (“the pain“) (fig. 17). As an additional example, the vocal line of the sixth line of the poem has a contour similar to the one of palindrome E played by the piano.
Ed Thipen was brilliant. The piano and the double bass came in to play an entertaining song. This song want s me to dance all day. The song has high tempo throughout the song. I liked the part when the song was fading around 39:44.
Further I finally got myself to move and get out of the car. I walked in and showed them my card and walked into the park. When he pointed to the first one we were riding I looked and it had the highest drop. I walked up to the sign and read “The Titan” but my mind saw “Your Doom” and i was terror-stricken. Unfortunately the line was short we were second in line for the front seat.
Wednesday 18th September 2009 2 days left and it’s the weekend again, seems to be flying by thing are looking up though I’ve been invited to a party on Saturday quite a few people are going only a few I actually know. Mom thinks it’ll be good for me to go and actually socialise, unsure what she means by that but I’m up to my neck in homework I should probably get started with that if I really want to go, my history teacher is a total cow and will kill me if I don’t get it done, think I’ll start it now