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Themes and Variations of the Trout Quintet
A quintet is a work for five instruments, in this case piano, violin,
viola, cello and double bass (piano quintet).
The fourth movement of this quintet is a theme and variations on
Schubert's song 'Die Forelle' (The Trout). Schubert (1797-1828) was a
prolific song / lied composer. Many of his songs took their
inspiration from the beauty of nature; 'The Trout' being a good
example. Much of his 'lieder' display pictorial word painting effects
in either the vocal or piano writing - note the piano 'ripples' of the
brook in the accompaniment of 'Die Forelle'.
Schubert was inspired to write the quintet in 1819 while staying with
a friend who was an amateur cellist. Schubert wrote out the parts
while he was there, so it is likely that the friends performed it as
soon as it was written.
'Die Forelle'
Key: Db major
Structure: Binary structure A :|| B
Phrasing: 16 bars in each section
Musical characteristics of song melody: Four 4 bar phrases in each
section, simple melodies and some repeated rhythms.
Theme
In the theme of 'Die Forelle', only strings are used with no piano.
The melody has dotted rhythms, which was not in the original. The
piece is however still in binary from (A :|| B). There is
ornamentation of A major added in part A with extra notes, and in part
B with an acciaccatura trill. The piece modulates to the dominant
chord near the end.
Variation 1
The similarities of Variation 1 to the theme are that it has mainly
the same notes, the same structure and the same modulation. The same
dotted notes are still obvious and the same chords are used.
However there are many differences in Variation 1 to the theme too.
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
Last is Im Wunderschonen Monat Mai by Robert Schumann. This piece sounds like a sad love story of some sort. The piano is what sets the mood of the whole piece, the beginning starts off slow and gloomy sounding, then the vocalist begins to sing and confirms that this song is going to be unhappy. Although the song is gloomy sounding I still like it, the piano has a pleasant melody and it is calming. It sounds like a song that should be played in a movie when a loved one dies and everyone’s mooring at a
Spoon River Anthology by Edgar Lee Masters, has many different themes illustrated throughout the many poems written in the book. One theme that is pictured quite often when reading these poems is, Life. There were many, many poems in Spoon River Anthology that contained Life as the main theme. Lucinda Matlock, The Hill, and Griffy the Cooper, were my three favorite epitaphs that all show this theme.
Antwone Quenton Fisher wrote Finding Fish a memoir. The book had been published in 2001 by William Morrow. “Finding Fish is about a boy raised in institutions when being born by a single mother in a prison and a father who had been shot by a girlfriend.” Later, Fisher became a security guard at Sony Pictures Studios, where his story inspired producer Todd Black, to make a film, Antwone Fisher, based on his story.”
In today’s society, there is nothing that is seen as a perfect marriage. Love and hate are both closely intertwined in our brain, making them the two most intense emotions. It is bazar to think that one can go from loving someone to hating (disliking) that certain individual, or from hating (disliking) that individual to falling mad in love with them. Society creates a barrier that makes one believe on what a loving relationship should be. In many occasions negativity and other factors come to play in a loving relationship. Even though love can over power hate, hate and other negatives can come out at the starting point of love because of infidelity, resentment, and other disappointments in a relationship.
I think the narrator is going to pick the bass. I think he will pick the bass because he knows so much about the fish. In the story, he knew just by the sound of the splash that it was a bass. He has been fishing so many times he knew where to steer the canoe so the fish wouldn’t get caught or un-hooked from the rod. He has so much experience about the bass as well. When he had the fish hooked he knew that it was a large fish, one of or the biggest he had ever seen. The boy could only see the fish through the water; he hadn’t even measured or weighed it. He could also tell it was such a large fish by the way the rod was bending from the weight of the fish. He pays very close attention to the details of the fish and the way he fishes. The boy had all name brand equipment and had spent quite a bit of money on the supplies. He knew lots of details about the fish; he mentioned how he could imagine the fish’s tail and the way it was cutting the water trying to escape. The narrator could also give up his passion and pick Shelia instead. He is always watching her from his cottage. He knew all of her moods
Rainbow Trout Bait and what do rainbow trout eat has got to be one of the top questions that I get asked by new fishing anglers looking to go out and start their fishing adventures. For all new people I always suggest using night crawlers and I feel using this type of live bait is the best way to catch a trout. When using lures you have to reel your lure in a certain way to be sure not to spook the fish that are in the area. Until you get experience at casting and reeling and understand the different types of lures they I suggest using the good old fashion worm. Good rainbow trout bait! Some will tell you to use the small trout worms but let me ask you a question. Do you want to catch a little fish with a little trout worm or do you want
While reading the book, Your Inner Fish, I initially struggled to understand the significance of this book to the lecture material. I could plainly see that much of the material presented in the book was similarly discussed in lecture. In lecture we learned the three factors necessary to find fossils and Neil Shubin elaborated this by recognizing the significance of a geological survey in an old test book that helped him realize where he need to look to find these fossils. The transition from aquatic like to life on land was revealed through his discovery of Tiktaalik, which filled a missing gap in the phylogenic tree. Another point discussed in lecture and the book was how specific genes differentiate into our forelimbs, common to land animals
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
I am listening to a studio recording of this song. This song was released on the album Flow in 2005, then arranged for full symphony orchestra on his 2007 album A Tale of God’s Will (A Requiem for Katrina). I will be listening to that version of the song. The piece starts out with a woodwind and string prelude. Then, the prelude decrescendos, then stops completely, making the way for the solo piano to come in at a mezzoforte dynamic with the melody line. The piece is shifted down a half step in key, with the melody's starting note going from G to F#. It’s solo piano for sixteen bars, then the tenor sax comes in at a mezzopiano dynamic in the middle of his range, making it easy to blend with the right hand piano line. Lower strings are also heard at a piano dynamic, adding harmony in a lower range (with some countermelody and fills) to the tenor sax/right hand piano part. Soft mallets are being used on the cymbals to add an occasional percussive color, but only at a pianissimo dynamics, as not to interrupt the main theme. When Blanchard comes in on trumpet, the cymbal work comes up to a mezzopiano dynamic with tom work as well. The melody line changes as well, and the full string orchestra is in at this point adding a dark color to this new melody line. Then the melody comes back in in the piano, tenor saxophone, and upper strings at a mezzoforte dynamic, different from the dynamic they were at earlier. They
With any setting of a text to music, there are unchanging elements such as the ensemble to be used and the form. With “I Am Lost to the World,” a combination of winds, strings, and a few brass instruments would be a desirable ensemble to use along with a choir of females. This combination would allow for a full range of colors to be utilized. While the poem is dark and solemn, there are many ways for such a feeling to be expressed by instruments. With such a mixture, all those feelings can be touched on – from strings playing a slow legato to winds playing a solemn, deep tune. A through-composed form would allow for more variance as this poem is more of a narrative than a themed, repeating poem. The female choir would consist of equal numbers of sopranos, mezzo-sopranos, and altos. The high voices would be capable of expressing a longing, desperate, and almost hopeless feel that is characteristic in the poem. The music would be in simple triple meter and would generally be very slow in tempo. Being “lost to the world” is a very dark idea and the poem invokes a sense of loneliness. Such feelings can only be emphasized with a funeral like quality, requiring slow, somber music.
Synthesis Essay Control is a common theme in literature used in order to teach about the complicated relationships between parent and child, These themes are seen in “The Glass Menagerie” by Tennessee Williams and “The Fish” by Lila Zeiger. In both cases, the authors use parental authority over their kids to show the effects on the identity of the developing mind. In both the poem and the play, the author uses conflicts between family to illustrate the effects of harsh parental control on the identity of kids. In both texts there are similar ideas being shown about the alteration of a child’s identity when their parents are overbearing and controlling. Tom, the victim of an over-controlling parent, gets frustrated about the current condition of his life as he was so unexpectedly thrown into the role of “father figure” by his mother, once his own father left.
...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.
The piece opened with a bright fanfare, with the trumpet playing a very crisply articulated melody, giving the fanfare lighter feel. The horns supported this trumpet melody by building the chords. The phrase is repeated and the upper voices come in as an accompaniment, which adds a shimmer-like effect over the melody. The melodic phrase is repeated numerous times and the harmonies are growing thicker. The section is building up and there is a slight sense of tension in anticipation for the next section. It then begins to gradually slow down, transitioning to the next section, which suddenly gets faster. The clarinet comes in with the melody, with very fast and scalic runs. The accompaniment is played by the violins, in a very rhythmic pattern, which pushes the movement of the section even more so than the clarinet would. The flute and piccolo respond to the melody, and then the stings take over and the accompaniment is passed onto the horns. The trumpets then play a series of staccato notes; some which are repeating, or have smaller intervals. The section decrescendos, and then the stings play a line, which is then responded to by the trumpets. This call and response continues for some time, slowly crescendoing from each repeat and the woodwinds end this call and response section and play the main theme of this section. The strings respond to this, instruments are being added, dynamics are increasing, and there is a slight buildup. The middle voices now have the melody, who are playing a variation on the main theme of the section, where they hold a single note in place of a run. The upper voices provide ornaments to the section. It then builds up to the next section, which seems to have slowed down, although it is actually an augmentation. The melody from the middle voice has notes of longer durations that are rather legato and smooth, but the upper voice accompaniment is still as rushed as the previous
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.
...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.