Name: Asia Lattimore Course Section: MUS 121 – 006 The piece I choose to report on is The Carnival of Animals performed by the symphony orchestra. After researching this piece, I learned that each movement represents a different animal or group of animals. The introduction represents the royal march of the lion. The piece’s dynamics starts out mezzo piano and quickly turns crescendo. You can hear the crescendo by the two pianos and all the strings getting louder and becoming more rapid. Throughout the introduction of this piece I believe the tempo started out andante and quickly turned prestissimo. The melody of the introduction sounds very staccato provided mostly by the strings; there is also a polyphonic texture as the piano is playing …show more content…
The melody of this section is staccato as it represents chickens pecking at food. This can be heard with the strings and piano. The texture of this short piece is definitely homophony neither of the sections play over each other much in this piece except for the interval the clarinets plays. The third movement is also very short. In this movement we only hear the pianos and they play chromatic scales to represent animals running, produced by the constant Allegro tempo the pianos play in. Tortoises is the animal represented in the fourth movement and this is definitely evident by the piano opening with a slow staccato melody being played in the higher register, it is also played being played in mezzo-piano. As the piano fades into the background all of the strings play a legato melody creating a sad and slow feeling by playing in the minor …show more content…
The violins both play very high loud notes in a staccato manner. The eight movement is mostly played by the two pianos with an occasional note from the clarinet. The ninth movement starts out very cheery in a Major Key being played by the flute. The cello and bass also play a few notes in the background making it polyphony. This movement ends very softly after an extensive rising chromatic scale played by the flute. The tenth movement is called the Pianists and this is evident to me after hearing it. This piece starts out with both the pianos playing their scales in a homophony melody. Throughout this movement the pianos play simultaneously with the strings coming in bursts to play a few notes at once. This movement is overall played in an adagio tempo. What is different about this section is that the chords don’t end this piece, but instead they lead into the next movement which threw me off at
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
The same line is repeated ecstatically by the quartet, which soars upward to it’s peak. The orchestra and chorus re-enter at a rapid tempo to bring the movement to its conclusion.
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had been already playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation befor...
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
Throughout this piece there was stop time breaks which tended to last for about four beats, while the bass player continued to play along to the beat. Every musician had a solo throughout this piece of art. The pianist played on the beat to where his left hand was giving the ‘oom-pah’ and his right hand doing the comping. There was not much of and expression in the pianist compared to the Josh Holland playing trumpet, Andrew Venet playing bass, and Ryan McDaniel playing drums. There were no blue notes being played, this song was just playing behind the beat. Lastly, this piece tends to have a long vibrato throughout this piece of work.
There are two main rhythmic ideas that are present in this piece. The first is the regular rhythmic pulse in the pianos and mallet instruments
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
Within the phrase structure, I could feel the pulse in beats of two beats per measure and the new phrases being recognized with a new melody. I could also feel a little bit of syncopation and polyrhythm at times when the treble clef was moving quickly with the base moving at a consistent tempo. There was ostinato at the beginning, middle, end which kind of relates to the phases of life. The texture I would describe as heterophony because of the simultaneous elaboration of the same melody. Looking at the musical score, each page has a different melody than the previous or next page. The shape of piece is uplifting and hopeful as the notes lie conjunct to each other along with having small intervals. The articulation is kind of staccato at the beginning then the notes all begin to mold together as the picture is painted. The music is very harmonious with a lot of consonance and a bit of dissonance so you can picture the busyness of the thrush. The cadence toward the end is the same staccato notes as the beginning, but got really soft and quiet really fast. The composer used very pure notes and mostly major chords. The dynamics start out soft in the beginning but the sound grows and falls as events happen. The music helps us picture the thrush singing her song with the piano notes are staccato, the tension in
3 is the second movement of the piece. It lasts around five minutes of the total 22 minutes of the whole Orchestral Suite. Air is written for Trumpet, timpani, oboe, violin, viola and continuo. It is written in major key. The meter is duple, and I would dare to say that it is quadruple. The texture is polyphonic. It has a slow tempo and there is no presence of accelerando nor ritardando. The harmony is consonant. Melody is conjunct and peaceful. Has a lot of repetition. The melody is consistent. The string instruments are prodminant whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
The piece opens with an allegro, minor melody with cymbal crashes and timpani rolls. There is a short pause then a major trill. Harp glissandos then accompany a legato oboe melody, which is repeated with a pizzicato string bass. The melody is then repeated by the whole orchestra. There is a crescendo with the tim...
The final and twelfth piece was made up of excerpts from a longer work called Five Short Pieces for Clarinet and Bassoon. To me, maybe because the concert was beginning to get long or maybe because I did not have many notes over it, the last piece seems fairly similar throughout its movements, or “Short Pieces.” The first was an up-beat piece with a distinct melody. The clarinet and bassoon alternated, with the clarinet playing the higher notes. The second movement had a have complete feel to it. The two instruments played at the same time, close to it. The third movement was an impressive sounding mix of ups and downs. It seemed that the performers were working very hard and it sounded very complex.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.