The first piece of the evening was “Veni Creator Spiritus” by Anthony Bernarducci. Throughout the entirety of the piece, the University Chorale: Evening choir, did a nice job at following their conductor when he gestured for various dynamics to be performed. When their conductor would motion for a diminuendo, they were quick to follow. The choir could have improved by controlling their breath, and by scattering their breathing so to not disturb the musicality of the piece itself. The next piece performed by the University Chorale: Evening was “Lord, make me an instrument of thy peace” by John Rutter. At the Beginning of this piece, the Sopranos were doing a lovely job at easily flowing up to notes that were higher in pitch, but this quickly …show more content…
However, there were strange vowel choices on higher notes that made it hard to understand some of the phrases that were being sung. For example, on the word “master”, the choice to use a diphthong instead of an ordinary “a” vowel, made the word take on a darker sound in a happier song.
In “Sing We Now of Christmas”, arranged by Brian Cook the Sopranos had moments throughout the entirety of the piece where they were not on the correct pitch. This interrupted the musicality of the piece as a whole. The choir as a whole however, did a nice job at creating and using consonants to help enhance the piece.
In “O Come, O Come Emmanuel”, arranged by Trevor Manor, the University Chorale: Evening did a good job at connecting with their conductor. This made it so the piece had nice crescendo and diminuendos that enhanced the piece as a whole. The choir’s connection with their conductor also helped to create nice cut offs at the end of phrases. The Sopranos in this piece however, sounded like they were in pain, which distracted the listener from the beauty that was being
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Palmer, the choir did a wonderful job at singing freely and with resonance. This helped the emotions created by the text to easily be portrayed. They also did a wonderful job at following their conductors gestures for changes in dynamics. This helped to intensify their crescendos and diminuendos. However, their consonants would occasionally be harsh, which interrupted the beauty of the piece as a whole.
In “Grant Us Thy Peace (Verleih uns Frieden)”, it was apparent that the choir was intensely engaged in what they were doing. This was shown in their strong connection with their conductor, which was shown in their ease of crescendoing, as well as in their facial expression. This made it easy to tell how both the conductor and members of the choir felt about the piece that they were performing. However, the choir changed vowels in the middle of the word “Lord”, which made the word occasionally
On November 16th, 2013, I attended a concert choir, fall choral concert. This event took place on the Wheaton College Campus, in the Edman Chapel at 7:30 pm. The chapel was well-lit, with long pews for the audience to be seated. The concert began with the audience looking up into a balcony, where the ensemble stood in neat rows. They watched the conductor, who stood on a stage in front of the audience, waiting for their cue.
George plays with symmetries, mirroring, repetition and transfer of vowels. (show Meine weissen ara haben safrangelbe kronen / Hinterm gitter wo sie wohnen / Nicken sie in schlanken ringen / Breiten niemals ihre schwingen) The artistic language might mirror the beauty or exoticism of the birds who despite their passivity and confinement seem elegant in their slender rings. Although the distinction between call and song in the following verse is ornithologically correct, it also depicts the rings graphically: “Ohne ruf ohne sang”. In addition, two stressed syllables enclose one unstressed syllable twice, like two rings might frame two birds. The two following verses highlight the birds’ passivity. They seem resigned to their fate. They doze long which is conveyed both through the verse’s sound and graphically. “Schlummern” is due to its consonant combination one of the articulatory longest disyllabic words in German. It is also one among those that need most space in writing. Despite containing only three syllables, the verse is almost equally long in writing as the previous verse of six
...se on both the tenor and alto flute, one an octave higher than the other. While the return of the verse and the flute’s soothing sound give this ending a vague happy feeling, the contrast between the flutes’ pitches and timbres cannot help but leave the listener with a feeling of tension and apprehension over what will ensue.
The words of the call and response describe the situation the community is in – it has lost one of its members and the others feel the pain of loss – but what really allows the reader to feel pain with the community is the chant itself. By putting the words in the form of a chant, the author has given them authority and made them personal to the characters singing them. Through his description of air swinging to the rhythm and of the swaying burden (which has a connotation much different from that of “refrain”), Heyward creates an image of ...
Lefebvre, Eliza. "Choir gives voice to kids’ confidence." Buffalo News 14 March 2013, n. pag.
The concert started off with Mi chiamano Mimi by Giacomo Puccini that was sung extraordinarily well by Alexandra Rannow who was accompanied by a pianist. Mi chiamano Mimi is in the first of four acts of Puccini’s La Boheme. This piece is meant to be sung with emotion and is supposed to make the listener feel what Mimi is trying to say and how she feels about it. Although the performance was amazing, the singer could have put some more emotion into her singing like moving her arms around a bit.
today we do not have a chorus, as it would obscure the view of the
end of a phrase in a Chorale, there is usually meant to be a pause,
If a person pays super close attention to any sorts of sounds that the choirs might have been created, individual breaths can also be heard. In all of the songs, there weren’t many decrescendos, but there were many crescendos.The crescendos must have been put in there to a dynamic contrast between sections or phrases of the pieces. Most of the vowels weren’t open and unified, but they weren’t also closed and tight. They were somewhere in between. When it comes down to whether if there were more open and closed vowels, there would have been more open and unified vowels. Most of the time, the choirs were on tune but when it came to the high parts, they were mostly of tune and sounded like they were kind of screeching. Also they were sharp sometimes throughout their pieces, and it usually revolved around one or two notes.
Combined Choirs. 1964. A History of First Baptist Church Lindale, Georgia. N.p.: n.p., n.d. 1-68. Print.
On Wednesday, May 23rd, I attended the College Choir concert in the Reamer Campus Center. The choir performed a variety of songs, ranging from pieces in Latin to traditional American folksongs. Two of the pieces featured solos, and one even featured percussion instruments. Mrs. Elinore Farnum provided piano accompaniment for each of the songs, and performed beautifully. I was extremely impressed by the talented choir members and their ability to sing such a varied range of songs.
Bibliography Ashton, Joseph N.. Music in Worship. Boston: Pilgrim Press, 1943. Johansson, Calvin M.. Discipling Music Ministry. Peabody: Hendrickson Publishers, Inc., 1992. Snydor, James Rawlings. Hymns and Their Uses. Carol Stream: Agape, 1982. www.infoplease.com for information on the church history background
A strong relationship between the music and the text can be seen throughout the melodic line, particularly in measures 22-23; 26; 32-33; and 36 as the soloist sings the word “ah!” This word is particularly emotive and in fact does not even act as a word, but rather something closer to a sigh. The music reflects this by placing multiple notes on one syllable, stretching it melismatically to mimic the drawn-out and lethargic nature of sighing. Additionally, each instance of “ah!” involves an arching line within the melody (this is particularly evident in measures 26 and 36), which further solidifies the resemblance to sighing (an act that involves a “swell” of breath). The idea of sighing occurs in many instances throughout this piece, even acting outside of the melodic line. The string accompaniment contains occasional slurs, and these slurs usually occur on a strong beat moving to a weak beat (e.g. see both violin parts in measure 9). This adds to the...
The University of Alabama Trumpet Ensemble performed in The University of Alabama’s School of Music, Moody Music Hall, on Monday, November 14, 2016. The concert was conducted by Dr.Eric Yates, and it featured members of The University of Alabama Trumpet Studio. The concert opened with the image of two choirs in the piece Canzon Septimi Toni No. 2 by Giovanni Gabrieli. The two choirs created a polyphonic texture, and featured moments of a transition from a major key to a minor key. The piece had a moderato tempo marking or moderate, but also featured moments of ritardando or slowing the tempo for a short moment. The effect of the two choirs being played by one choir caused a state of confusion, yet it also allowed the listener to fully understand the sounds of the piece. The next
Being in a choir means that we all have the common goal of making good music. Music that makes you cry or laugh. Music that makes you feel something deep within. We try very hard in our choir to sing with emotion and feeling according to the song type. Currently we are singing a kind of halloween themed song called Double, Double Toil and Trouble from the Shakespeare play Macbeth. In this song we get to sing as the three witches who predict Macbeth's future. We as the singers get to cackle like witches and hopefully make our audience shiver with