The first and third lines each have eight syllables, and they both rhyme. The second and fourth lines each have 6 syllables, and the two lines also rhyme. This structure, one similar to that of a song, also gives a cheerful, happy tone, with its continuous rhythm. We can feel the rhythm, and we are almost able to sing the poem, a song that would mean different things to different people. The poem,”Jabberwocky,” is amazing not only for the masterful technical application of its author, Carroll, but also its unique ability to mean different things to different people.
94 in G Major, or “Surprise”. His Symphony No. 6 reminds me of his Symphony No. 94, especially during the middle of the symphony because of its dynamics and instrumentation, but the beginning of Symphony No.6 is a lot calmer and quieter. Another first impression that I had when listening to this song was how this symphony created a clear image in my mind.
So it brings the feeling of sad and happy to audience. The key of piece was D-minor inside the melody. The texture of this piece is polyphonic because it performs two or more lines of relatively equal interest at the same time. Lastly,
The music is mostly composed of Didgeridoos in addition to the original simple percussion instruments, such as clapping, beat, blow sticks and other body. Aboriginal music has a strong sense of rhythm, full of strength. The whole song is shorter, about a minute or so. The lyrics are vivid, involving the fairy tale and the totem animal. Native people to sing, with the beat of the beat, and sing and shout, very lively.
Whereas Dufay, to whom his music was greatly compared, impressed by his use of the musical elements and “the grace, majesty and great clarity”, Ockeghem presented a different approach. Ockeghem’s music was noted to give a different musical personality such as it being “moody, flamboyant and enigmatic”. Some of his most noticeable mass compositions are: “Missa pro defunctis (Requiem)”, “Missa Au travil suis”, “Missa Caput”, and “Missa cuiusvis toni”. He also composed chansons: “O rosa belle”, “Aultre Venus estes”, “Les desleaus ont la saison” and “Ma bouche rit”. (Web.
It looks very similar to a saxophone but played really low notes similar to a bassoon if not lower. The ending to this piece was a bit ire due to the Allegro and crescendo ending and the use of the bass clarinet to emphasize emotion. Overall, a great piece to hear due to its variations of contemporary sounds that brought intense emotion, especially towards the
"Self Control" is the most beautiful track: it has a certain vulnerability, hopelessness and wrongness in the lyrics and vocal delivery, along with a palpable guitar accompaniment. The low synth, violins, muffled guitar solo, and layered 3-part harmonies echoing, “I know you gotta leave...” fill the sonic space with an almost ethereal quality. It 's an invigorating shift from the static structure of the prior songs that go hardly anywhere
The beginning is a stylized dialogue between the top and the medium-low ranges and this leads to a long development with a melodious, legato settings, analogous to low violins and violas conducting homophonically a hymn-like chant marked with short tremolo outbursts at the low range, like Timpani, and the high. Following the re-exposition of the main melody accompanied by fluid arpeggios and the hymn-like section transposed appears a Coda with the elements of the beginning which are now expanded with tragic silences. Allegretto A unique motive made into a kind of "perpetuum mobile". The writing of the left hand part is to be noted for its request to hold the dominant tone of A in its arpeggios. This held tone, A, in both tonic and dominant arpeggios give the melody an obsessional allure.
The introduction is pesante, making the listener feel like something is weighing down on him. After the short introduction, a new idea is introduced. This new passage is much lighter and faster, and it uses the full range of the instrument from the beginning. After this passage ends, a variation of it begins, utilizes the same idea of ascending thirds from the original passage. Paganini uses ascending and descending octave double stops at a fast tempo frequently in this piece.
Counterpoint can be defined as the combination of different melodic lines in a composition. Good counterpoint requires both a logical harmonic relationship between the lines as well as a degree of individuality and independences within the lines. Theorists have emphasized the vertical aspects of species counterpoint by defining the certain note combinations that are dissonances and consonances and prescribing where both should occur in both strong and weak beats. To contrast this, many great composers have shown more interest in and usage of the horizontal aspects such as the specific movement of the individual melodic lines and relationships of design and texture, as well as the balance between the horizontal and vertical forces that exist
Accents were often used as well. Many different types of bells were used in this piece. This song seemed much shorter as well. The final piece that I really liked was called “Joy to the World.” This piece I really liked because it had a soloist that had a beautiful voice. In this song the world famous tenor Rene Fleming stars as a soloist.
• In the Mood: by Glen Miller Several of Glenn Miller’s hits were simple but are full riffs tunes; in which the riff is altered and with each recurrence suitable the primary harmony. When most people hear the song In the mood; they think of the legendary Glenn Miller. Miller’s In the Mood is one of my favored dance arrangements. • Beyond the Sea: by Jack Lawrence Beyond the Sea, recorded by many artists, but it was Bobby Darin 's version that is the best known. • You Make Me Feel so Young: by Josef Myrow, and lyrics written by Mack Gordon • Time after Time: by Sammy Cahn (lyrics) and Jule Styne (music) Time after Time, in ABAC form, is a moderately slow song, sung by many artists.
The chord progression of the piano accompanied the vocal which drifted smoothly up and down with the change of emotion, while the percussion and string sections were presented softly in the background. Remarkably, the leading position vocal in this song also illustrated the change of focus from band to vocalist in the late Swing era. 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.
Angels We Have Heard on High was played at an Allegro tempo that sent good vibes throughout the song. Hark the Herald Angels Sing was played at an Andante tempo that expressed the Flutes who are mostly composed of expression of a choir singing the song. Jolly Old St. Nicholas was played at an Andante tempo and indicated the excellence of the whole band with soothing music. Deck the Halls was played at a Moderato tempo and demonstrated the high’s and low’s of the High Woodwind range. Gabriel’s Oboe was played at a Moderato Tempo and reveals the hidden sound most audiences do not hear due to the low and sweet sound that comes out of the instrument.
In stark contrast, the B and C sections were much darker and developmental. These sections were also played forte, as compared to the A section being played at piano. The tempo varied between each section, but not by much; all sections were played at Moderato. However, Graff also used tempo rubato frequently throughout this piece, and most others as well. The melody was consistently on the treble clef, with arpeggios and chords in the bass.