Figure 4.11. The transpose from the first variation to the rhythm of the theme
Even though, it is not exactly duplicated from the theme. It has one missing note in the third mm. and changes the PCS of the last four notes backed to PCI 1 both two PCIs in the end, Regarding from figure 12. On the other hand, it is given some ideas that Kraft shifts a theme to another mode, from E to C in this case. Also, revise all elements to another manner.
Furthermore, in this section Kraft also adding an extended-technique into it as well. It is a Half-valve glissando three and a half Octave down, from high C down to a low F three and a half octave apart, at the end of this section. The Half-valve is actually the most commonly found among the extended-technique
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the demonstrate of half-vale technique among the same note.
And flutter tongue. In mm. eighty, Kraft overlapping the two notes motives with is a relation of six half steps. From this creation, the melodic line becomes an arpeggio which made from a lamination of four pairs of minor thirds, or a diminished seventh chord. Kraft using of overlapping of the final note of the PCS 1 with the PCI 6. It utilizes the symmetry of PCI 6 to create a diminished seventh chord. In this variation, Kraft using inventive technique satisfactory to make a different sound by only uses original materials from the theme. Figure 4.20. the innovation techniques of Kraft using of 2 PCI 6 to creates an
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ninety-ninth to one-hundred. In the mm. ninety-ninth, every note is related to the notes in the next mm.. The five notes in the ascending line from the mm. ninety-ninth have a one half-step relation with the six notes of the descending line in the mm. one-hundred, also two note in mm. one-hundred has a retrograde relation in terms of leading to two notes in mm. ninety-ninth as well. This half-step relationship produces the resolve sensation to the final moment of this variation. As well as it functions as a preparation to move on to the next variation.
To make a statement from this idea, it can be identified each note by a number to demonstrate the relationship of them. Figure. 4.21 the number identified each note to explain their relationship.
From figure 21, the number is sort from left to right. As it shown, it can be explained by six pairs of the number follow:
1. The pitch number one is leading to the pitch number Ten.
2. The pitch number two is leading to the pitch number Seven.
3. The pitch number three is leading to the pitch number eight and eleven.
4. The pitch number four is leading to the pitch number nine.
5. The pitch number five is leading to the pitch number six.
6. The pitch number nine is a retrograde leading to the pitch number Two.
7. The pitch number ten is a retrograde leading to the pitch number
86), depth or space is illustrated or implied by the size and position of the flute and guitar player being the larger of all the musicians in the foreground and the smaller musicians behind them. Depth is further depicted by the guitar player's right leg in between the flute player's left leg. The line in the neck of the smaller guitar and the implied receding lines of the guitar's body depict linear perspective and add depth. Paolini creates value by using the artistic technique chiaroscuro or Italian for ‘light-dark’ on the flute player per DeWitte (2015, p. 84). The flutist back is highlighted in bright light coming from over his right shoulder. His front side or chest is bathed in shadow.
1. Narrow-ranging, dynamically restrained modal melodies are played in a variety of tuning temperaments that generate an "illogical" modal harmonic succession. 2. An unrestricted range of multimeters, polymeters, and complex rhythms are used. 3. A texture of two or more independent and equally important melodies accompany one another (i.e., polyphony). 4. The formal construction is often vague and unclear. 5. The instrumentarium is unrestricted and nonstandardized.
Example 2: Notice the contrary motion of the instruments of Theme 1, followed by the descending contour of the violin and viola (Bratsche).
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.
Do you think kids get more and more violent after playing video games? I think that kids do get more violent and learn more negative things from video games. Such as when kids play games like Grand Theft Auto 5 and Call of Duty they want to shot and kill people. Games like Call of Duty and Grand Theft Auto are rated M for a reason. An M rated game means mature, so you have to be 17 or older to purchase. Young 13 year olds should not be playing these games and getting so much negativity out of the game. So I think video games do cause kids and teens to do violent things.
The composition reflects Webern’s yearning to mirror some of the ideas of his mentor, Arnold Schoenberg. One of the most prominent concepts throughout the six movements is the lack of any contrasts that call for resolution in the music. This portrays the new style of writing brought to light by Schoenberg in the development of atonal music. In addition, the movements are all through-composed. In other words, there are no clearly defined sections that mark a beginning or an end to a specific musical idea or motive.
The primary theme is restated here. Unlike the exposition's independent transition, which serves to smoothly modulate between keys, such as C minor, F minor, and E-flat major. The transition in the development section exhibits alterations and heightening tension. Re-transition in m.137 based on the second theme. With just two measures, this transition proves highly effective in swiftly returning to the primary theme in C minor.
...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.
...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.
... 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.
...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.
The Circle by Dave Eggers questions whether the ends justify the means. The question of whether there is ever such a reason that would justify extreme measures to achieve such goals is wrangled within the novel. Some might argue that if the end goal is so just and acceptable, then the means should be allowed, but how might one characterize a valid end goal? Furthermore, to what extent is someone allowed to reach their goal, especially when it imposes harm on outside beings? Within the Circle, Eamon Bailey and Stenton portray their company as a massive firm working towards ending all evil in the world.
He tries to fix this “mistake” at measure 24 by transferring the ornamental figures to the high register (i.e. the violins) and switching from a trill to appoggiaturas. At his cadential figure to the exposition, Mozart decides to curtail the final measure and instead replace it with an overlap of the first primary theme. This whole asymmetrical exposition has been brought to conclusion in a nice thirty-two measures. What is most interesting is the fact that the end of the exposition at the double bar repeat overlaps with the first theme, showing Mozart’s dedication to the rather undevelopable
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
...chart should look like with the exception of one rule, the pieces were not arranged from largest to smallest in a clockwise manner. The sizes are mixed, making less clear the relative proportions of the pieces.