Lullaby by Nickelback Lullaby is a homophonic vocal-instrument song written in minor key with a fourth beat meter based on a composed-through form. Lullaby in about reaching someone who has lost everything good in life and who is giving up everything and is about leading him knows that is going to be right. The song is divided in chorus-verses form as follow: intro, first verse (A), chorus (B), second verse (A), chorus (B), bridge (C), and chorus (B). Musical Intro: the intro of lullaby is a minor monophonic melody in which at the beginning the piano starts playing different chords. Then, the electric bass and the drums start playing with the piano. At this point, the piano plays broken chords. The melody’s tempo at the intro is quadruple and the dynamics is pianoforte since when the drums and the electric bass starts playing the dynamics change abruptly. …show more content…
There is a homophonic texture at this section. The rhythm is a quadruple one and the dynamics is pianoforte as well as the intro. The singer has a baritone voice with a rough, dark tone color. The vocalist as well as the instruments play in minor tone which is consistent with the melancholy of the lyrics that express the emotions of having lost everything and having nothing to live for. The melody’s tempo is andantino. At the end of this section, there is a bridge in which the sound of the instruments are dropped out to get to the climax of the intro of the
Is one of Heads more popular vocal works. This song is from a collection of works; Songs from the Countryside. The ritard in a the opening system and then a quick follow by the a tempo marking creates vivid word painting and puts emphasis on the lyrics money. The intensive use of accents and use of textual markings of this composition make it a great example of a 20th composition. In this case the dynamic and textual markings poses a great dimension of context as instruments were at this time capable of almost anything. A definite characteristic of the 20th century and a characteristic of this piece is the variety in mood, textual markings and accents on majority of the notes.
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...
Baby signing is used to teach children who are not yet speaking to communicate through symbolic hand gestures. Many researchers believe this form of communication is beneficial to families in that it may relieve frustration for the baby (Gongora & Chammarrita, 2009). For example, a child who is taught sign language can make the sign for juice to communicate that he or she is thirsty (Gongora & Chamarrita, 2009). Also, baby signing is believed to promote a bond between the child and parent, as well as improve language development (Gongora & Chammarrita, 2009). Over the yeears, baby signing programs have gained much attention in the media. As a result, many parents have purchased these programs with aticipations of accelerating their children’s development ( Gongora & Chamarrita, 2009). Years have been dedicated to this research; however, evidence to support the beneficial claims of baby signing remains unclear.
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
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
“When the going gets tough, the tough take a nap.” This statement by Tom Hodgkinson perfectly describes the solution to the life of the average American high schooler, who wakes up early, rushes to school, and undergoes several grueling classes, only to later participate in extracurricular activities and return home to complete homework. Due to all these activities, only a vast minority of teenagers obtain the amount of sleep they need in a night; Tom Hodgkinson’s quote proposes a solution to this problem. By instituting naptime in high schools, students could simply nap to refresh themselves when the going gets tough, whether that be an excessive amount of homework, an extremely demanding test, or a sports practice that lasts long into the
Lullaby, by Leslie Marmon Silko, is a story about and old, Navajo woman that is reflecting on some of the saddest events in her life. Lullaby shows how the white people have damaged the Native American life style, culture and traditions. Loss and symbolism are two major themes in this story.
The texture is polyphonic. It has a slow tempo and there is no presence of accelerando or ritardando. Harmony is a consonant of the word. Melody is conjunct and peaceful. Has a lot of repetition.
The first two years of a humans life are bursting with biosocial, cognitive, and psychosocial development. In the first few weeks after conception to two years after birth a child’s brain experiences more growth than any other organ in the body. During the first two years of a child’s life the brain is very plastic and malleable. In order for children to continue down a path of success and learning there are certain experiences a child must have in order to develop normally. The First Two years of a child life is responsible for the foundation that is layed.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
The music accompaniment to this piece comes from one or two pianos which work in almost perfect collaboration with the dance so that neither one overshadows the other. While no other instruments are used, the melody of the piano changes from scene to scene in order to depict Jooss’ emotional responses. During the scenes with the politicians, the air of the piano is light-hearted and almost comedic. The purpose of this was to show the detachment of these men from the war. They are in a safe situation, unexposed to war and death. When the scene changes and we see what’s happening in the lives of citizens, this vaudeville-like tune is transformed into a thunderous and eerie song that haunts the audience. The reason for this change is to reveal Jooss’ feelings about the unnecessary brutality and death that always comes with a war, and how politicians don’t understand the horror of it.
...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.