The Musical Reflection Of The Swan Lake Suite

This idea was an interesting start, because it caught the audience’s attention to really listen to what was going to happen next. Then the song, went into a lighter more atmospheric section, where there were many crescendos and decrescendos. The instruments in the piece included the chimes, maracas, timpani,

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 fact that people could actually sing like that and all of the different special effects and scene changes were happening right in front of my eyes got me hooked. I am sure that is a similar story to many other peoples. Andrew Lloyd Webber changed the way the general public responded to live theatre. He had the world hooked on the beautiful melodies as well as the intriguing story lines. I think he is the reason many people began theatre in the first place.

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.

First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.

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).

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.

The ambiguous sounds of the middle, give an uneasy feeling of impatient monotony, while the concluding movement is in a revelatory and joyous mood with occasional clashings of dissonance and jazzy inflections. The two Serious Little Pieces are charming miniatures: the first, a swift pointilistic whirlwind, the second, a slow waltz. Scored for wind quintet with baritone saxophone, a rustic sound is

Sarena Chandler Dr. Wakeman Orchestration & Arranging Listening #3 The Music For Strings, Percussion, and Celeste written by Bartok, is theoretically unique and composed in a very different way. This piece is in four movements, Bartok intentionally makes the first and third movements slow, and the second and fourth fast. The first movement is a slow fugue, with a time signature that changes abruptly.

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

Throughout the movement, there was repetitive counterpoint between each group of instruments, and then the whole band responding. The ending began to crescendo and used consonance to conclude the triumphant piece as it had

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

This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end.

Attending my first jazz concert was an unforgettable experience of great live instrumental music. The concert was entertaining and a very educational experience of this course. As a student in this course with little musical education, I never appreciated instrumentals, until the SDSU Jazz Concert. This concert was a really enjoyable experience with the balance of all the instruments. I really enjoyed the experience and the knowledge of music I gained from the concert.

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).