The Musical Reflection Of The Swan Lake Suite

The aural score to “On The Transmigration of Souls by John Adams, describes the excerpt from 5:30 to 9:10 in the piece. The piece uses mostly orchestral instruments but also includes spoken words likely played from a tape recorder or other recording device. Recorded footsteps are also used throughout the piece, but in this excerpt they appear near the end. Beginning the excerpt are choral sounds along with violins creating more high-pitched sounds to start off. Both strings and voices take a soft volume and decrescendo before they drop out.

Section B is faster than Section A. It has faster rhythmic and harmonic motion. The clarinet plays a slurred descending line similar to the beginning accompanied by sixteenth notes in the piano. The sixteenth notes switch to the clarinet before the key changes to E Major. Section A melody line returns in the piano in E Major, which changes to C Major, and then back to A-Flat Major. Section A is completely restated.

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. This first version of the song; got my intention, it’s from 1943, and it is one of the most famous versions. The song sound had played the piano, drum set, a trumpet, and the bases, interplay between the sections is just genius arranging. It was an amazing old style, singing with the band.

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.

In this Folk-type song, Bird causes air to vibrate by plucking and stroking (guitar, violin). Once again, the violin becomes the dominant of the song, accompanied with “ooooh” sounds from him as well, a beautiful accompaniment. The song’s melodic motion is both conjunct and disjunct. All the added elements of this song although few are absolutely captivating and impressive. The plucks and loops of this arrangement is unlike anything I’ve ever heard.

I chose to attend the ISU Jazz Combos concert on Thursday, February 18th in the Martha-Ellen Tye Recital Hall. I chose to attend this particular concert because from fifth to tenth grade I played the alto saxophone, and was a part of a jazz band in middle school. Jazz band was my favorite thing about playing the saxophone, and I loved the occasional improvisation solo I would get to perform. Although I like jazz music, I never have attended a jazz concert other than my high school jazz band concerts. Attending a concert at Iowa State was new to me, but I was excited to get back into the “jazz” of things, and was overly pleased with the two different jazz bands that performed.

Cailliet Though Richard Wagner is primarily known for his orchestral works, many of his piece have made their way into the wind band repertoire. Elsa’s Procession to the Cathedral is a piece that takes place in the opera Lohengrin. In this scene, Elsa is in the midst of getting married to an unknown knight that has saved her from being accused

This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

It may not seem significant to the audience, but to me, a mere 10 years old, it was a major breakthrough. I finally got the chance to spread the joy and love that I gained from this experience to the audience yet it was so nerve wrecking. As I took up my violin and touched the shrill E-string, I was immersed in the beauty of the music that awed me for years. The nervous thoughts just floated away and all that was in my mind was how to shape the music. The clear, sweet singing melody floated out from my three quarter-sized violin as my chubby fingers flew on the fingerboard.

At the seventh bar, the woodwinds join the harmony (2:25) and a harp leads the piece into the next half of the C melody (2:27). The volume in this

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

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

Wadada’s trumpet, frequently hitting long high-pitched notes, opposes to the cello-piano mosaics that occur in a lower register. “Yellowstone’s intro, configured by trumpet, piano, and then cello, takes its time to engage in a fantastic 4/4 groove laid down by Lindberg, a stupendous bassist who boasts a ravishing sound. Davis also deserves an ovation for his fast-moving right-hand approach while the bandleader’s bravura comes from the soul, not from the head. The CD2 opens with the volatile 31-minute movement “The Mississippi River”, which takes us on a dark and mournful trip to a past of awes.

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

It started out as a jolly, syncopated tune that was played at a relatively fast tempo. The song was played at a mezzo forte, but went into a crescendo, then reached a chord. After the chord was hit, the violin had a solo, and played a variety of rhythms, tempos, and tones. Eventually a countermelody joined in and changed rhythms, tones, and dynamics throughout the violin’s solo. There were also several dissonant sections throughout the song.