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The importance of good listening
The importance of good listening
Music in history
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*2. Introduction / response / statement of over-all effect
Listening to this symphony soothes my mind every time I listen to it. It brings nothing but happiness to me and makes me forget all the negative feelings I had before listening to it. The symphony reminds me of the Waltz scene in the Sound of Music which was my favorite part of the whole movie. It flows and brings all the emotions I felt watching that scene. The transition of the symphony brought on the memories of this scene in the Sound of Music.
I chose this piece over the other ones because this is the only one that brought happiness and memories the very first time I heard it. It brought so much happiness to me that I got up dancing several times. I wanted to just go out and dance the night away like I didn’t have class the next morning.
*3. Description
This piece is divided into three segments and the first and third segments are almost the same. The piece is much like a waltz and has a tempo that is moderate to moderately fast. It is composed of string instruments and a snare drum.
The first segment of the piece is an orchestra composed of cello, violin and bass instruments. The segment is divided into four sub-segments. The orchestra play a forte then a decrescendo to a mezzo forte. As the four sub-segments, the transformation to the second segment is brought into by a decrescendo that is a slightly slow. The tempo is less instinct which puts emphasis on the basses and cellos. The timbre of the first segment is the balance of the string instruments with the snare drum in the background.
The second segment doesn’t have any snare drum in it. It seems to be a battle going on between the louder string instruments and the softer string instruments. The sub-segm...
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...The whole waltz scene is joyful and inspiring but the second segment of the piece is the most joyful of them all. It’s when your joyfulness reaches the highest peak it can reach. This is a piece that I will always keep when I feel down and need to be filled with joy.
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I choose this scene because of the high tensions it has I also choose it because it is the climax my favorite
The piece opens with a series of quick, fiery chords spanning almost the entire range of the piano, followed a by light staccato section in a scherzo style. The mood then changes with a long lyrical section, before fragments of the vigorous rhythmic opening section return and bring the music to a darker section that also echoes the theme of Rhapsody No. 2. The second half of the piece re-uses the melody of the lyrical section, only transposed up by a fourth, which provides a bigger contrast to the previous dark section.
... connection to the song. In conclusion, I think this has the potential of becoming a great piece if we can convey our emotions to the audience.
Just from the title the melody of the song was very luring almost toxic enough to put me into a deep sleep, but at the same time sending a slight chill down my spine. In the beginning of the song, it was inviting with the beating of the percussion instruments though from where I was sitting it looks like there is two groups taking side of the percussion players fighting it out. Once the string instrument enter into the fray the song becomes a polyphonic texture with an allegro and moderato melody. It was very balanced and almost has a theme of many Egyptian theme music. The percussion instrument takes the lead in this song with the backing of the string building up the big finale of the song. However, in the beginning to the half of the middle it was playing it a smooth moderato pace having a quadruple meter beat. The rhythm is specular because it recoursed from the percussion instrumentalist from beginning to near the end. Creating a nice dramatic expressive quality into the song. In the second half of the song, it alternated between upbeat and downbeat creating an atmosphere of a battle between two opposing forces. The song ended in a big bang sending every single person wide-awake and almost I felt a slight adrenaline before I
The ninth symphony is my favorite symphony just because the music is so heavenly. It seems in the beginning of the piece brings a person from darkness to light. Beethoven, I believe, was ahead of his time. To me, he is the greatest composer of all time. His music is not just sounds of music played together in harmony, but a way of life. The music he created for the world is not just to listen to it, but grabs onto the emotion he was setting up. Beethoven's unordinary style cannot ever be copied by any composer or music artist. Today, when we hear music of any kind, we can only thank a certain person, and that person should be Ludwig van Beethoven.
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
The second movement, andante, opens with a fluid piano solo introducing the theme quietly. Then, the orchestra takes it over. Everything has a soothing feel to it, bringing relaxation to the listener. It is wonderfully calming and the orchestra comes in occasionally to supplement the piano, which is often alone. The movement is very short, soon fading into silence.
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
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
It is as though each part of the orchestra was in their own dance and joining other pieces of the orchestra to create the music as a whole. Each part of the orchestra competing to be center stage fleeting back and forth combining their pieces of music together to make this large unravel deep message. Yet, as always the timpani is what kept everything in line, and with the help of the bass supporting the timpani, the timpani was able to keep the rhythm for the rest of the orchestra to understand the stages of Spring. The bass would be the supporting piece to the timpani through the performance. This shows the true mind of Stravinsky. The music is as though it is a heart. Each vale beating to their own piece coming together like the bass beating as one. I honestly believe his is the heart of all Stravinsky's
The Wind Ensemble presented the piece with a wonderful sense of musical accuracy. Each performer and soloist communicated the music to the audience extending the vision from the composer. They worked to keep the audience engaged and interested throughout the total of the 18 minute piece, which can sometimes be hard.
In the beginning, the left hand enters by carrying out the ostinato consisting of arpeggiated triads and awaits the melody. After two repeats the wavelike theme joins in with spirit and liveliness. The melody
...htly syncopated, again with ornamental notes by the flute. There is a crescendo, which contrasts long notes and staccato notes, creating an unusual rhythm. The crescendo builds up to a perfect cadence with the timpani crashing.
...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.