Symphonie Fantastique Analysis

7”. In contrast to their previous song, this one had a gradually rising intensity with a rhythm section made up of a bass and bassoon. This song also has a lot of syncopation, with the violin often playing unexpected beats. The song had multiple melodies throughout its duration, each one having a different indexical connection for me. The song starts off as a lighthearted, almost old-time Disney like melody, then changes a fourth the way through to a crime drama melody. This song definitely accomplished the ensemble’s goal of showcasing the new type of music in the

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.

Then the rest of the band joins in with the flutes maintaining the melody while the low brass is the background. The form is situated in A B A form. The dynamics in the A parts are louder then the B part. There is no temp change in the first part. The second part, Barbara Allen, has a much slower tempo and is in ¾. It also repeats a lot making the relatively short piece on paper last longer. The dynamics stay mostly the same and the tempo does not change. The Third part, Farewell, Dundee is in 6/8 time and again start with the drums and then the flutes join in. This part also repeats a lot. The main melody is by the flutes. The background is mostly low brass. The part is in A B form with a taste of the very beginning at the end. The dynamics didn’t change much besides for the end where it got softer. The tempo did not change in the piece. Some things we learned while practicing all 3 of these pieces was how to keep time from piece to piece. The first was in 4/4 , the second in ¾ and the last in 6/8. We learned how to keep track of time effectively for each piece especially for the last one that was in 6/8. Some things to look for in the first piece is at the beginning the call and response of the low brasses. In the second, listen for the repeats and how at the end of each it’s a little different. In the third listen for small dynamic changes when different

Lastly, “Romeo at the Grave of Juliet” part opened up with a long and slow theme of the violins with a brief accompaniment by the horns. Another light variants then entered by the other brass instruments in developing the theme which overpowered the minor mode of the music part. The suite closed with a delicate sound of both violins and clarinets in a restrained manner in a simple C-major key which depicted the two lovers united in

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.

Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus.

Cécile Chaminade (1857-1944) was a French composer and pianist. Her mother, a pianist and singer, provided young Cecile with her earliest musical instruction, who at a later age began to experiment in composition. Her father’s disagreement prevented her from attending the Paris Conservatoire, so instead she studied privately with members of its faculty, which included Benjamin Godard. She started composing music at the age of 8 and performed abroad at the age of 16.

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).

Hello friends, and welcome to my blog! Today, I will be sharing with you guys a really nice art song by romantic composer, Franz Schubert.

Unity and variety is put in this piece through dynamics, timbre and pitch. The song adds variety by increasing the volume during Idea B. Idea B is unified in the piece keeping the same instruments as Idea A to keep the rhythm. The dominant instruments during Idea B introduces new sound sources and adds variety to the piece. The overall pitch of this piece is low but the piano during 2:18-3:17 gives variety by introducing a higher pitch.

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. Jingle Bells was played at an Allegro tempo and articulated the sweet sound that comes from the whole band creating a swing beat to match a nostalgic preference of Christmas being so close. The Flute Trio expressed their excellence in soothing music from their selection Silent Night played at an Andante tempo. Their other song Carol of the Bells played at a Moderato tempo and was quite lively with each player playing different tunes all at the same time. The song selections were perfect for the theme and they had a familiar

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

Richard Strauss (1864-1949), was a leading German composer and conductor. His orchestral compositions and operas have made him one of the best known composers of the late Romantic and early modern eras. While Strauss did not pay much attention to his chamber music in his later life, in earlier years he tried to compose several different types of chamber works such as a string quartet, two piano trios, a piano quartet and several instrumental sonatas. Now I will introduce his last work of chamber music, the violin sonata.

The Well Tuned Piano is a piece for solo piano and the entire duration of the work is 6 and a half hours. The music is composed of Just Intonation and is improvised by the composer La Monte Young. The composer also performs himself. During the song, the modern concert grand piano is played in just intonation pure toning. The sounds are completely controlled, and the composer exploits the constitution of pitch. In the beginning of the song, the low toned notes are played powerfully. The notes continue naturally and the flow is uniformity. According to the professor, Just Intonation is a musical tuning in which all frequencies are tuned as ratios of small whole number ratios to a single unified fundamental. At 3:20, the second part begins after

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