Defying gravity In the introduction of defying gravity, Glinda makes a reference from "The Wizard and I" when she sings, "You can still be with the Wizard” These lyrics have the same melody as the A-section of "The Wizard and I." Glinda is trying to convince Elphaba that she can still have that earlier stage of her dream—a stage that was safe and more in line with Glinda's conformist nature. This is used to recreate uses the emotion and music from "The Wizard and I" to express Glinda's hope of keeping Elphaba happy with her old dream. After this, the violins and violas tremble and the music changes so that it has no clear beats. This allows Elphaba to cast aside normal guideposts like the music is casting aside the “need” for a steady beat. One of the breaks in the score takes place as we again hear a descending figure in the bass clarinet to introduce an important moment, which has been used before to stress other important moments in the musical—in this case, it's …show more content…
This moment is as close as Glinda gets to letting go completely of the need to act all the time For once, Glinda is unselfconscious. For a few moments, she is not defined by her high-maintenance personality and she joins Elphaba. Glinda however, is fearful of change. Despite this powerful separation because of this, Glinda and Elphaba both sing to the "Unlimited Theme", about hoping the best for each other, even though they are aware of their estrangement and the pain it will bring to both of them. Then there is complete silence for a moment before hearing both Elphaba and Glinda sing "my friend" emphasising that we have to wait a long time before we again see Glinda and Elphaba so close again.after Glinda denies the opportunity to join Elphaba, she declares her independence and embraces her future of solo flight. After the re-entry of the chorus completes the dramatic structure of Act I, Elphaba, Glinda, and citizens of Oz clash. While Elphaba holds her note, we hear Glinda sing "I
...e when they join in since it is the first time in the whole symphony to hear something like that. The chorus ascends against single notes played by the harp. Upper woodwinds come back as the chorus fades but comes back again and stays until the very end of the piece.
Each individual player in this orchestra is a soloist of sorts, playing a completely different piece than the musician seated directly next to them or across the stage. Rather than being written as a concerto, this piece, written in three movements, allows for each of the accomplished musicians to display their skill individually though each solo is not brought to the forefront of the piece, creating a what sounds like a disgruntled compilation of individual pieces that come together. This piece both begins ends with the Funeral March of Beethoven’s Eroica Symphony directly tied into the basses, at first it is quiet and difficult to recognize but as the third movement is introduced it becomes more pronounced and evident. Those who were present for this pieces introduction to society were able to see its emotional effect on its composer who had obvious emotional ties to the music. Strauss never showed up to see his work debut instead he attended the dress rehearsal, asked Sacher if he could conduct this work. Strauss was said to have given a beautiful reading of the score that many view as his most...
A predominant feature within this theatrical element is the incorporation of lyrical movement within the acting scenes. A group of lyrical dancers move in and out within the scenes and are used as a foreshadowing method to emphasize situations that hold a current or upcoming significance to the overall theme of the play. For example, in the beginning of the play, the dancers along with Onya are represented through an apparent dream that Elgeba, Onya’s young neighbor, has about Onya being swept away by the currents of the water. The dancers impressively portrayed this concept as the silent waves that were holding Onya up and taking her away. This foreshadowing dream shows Onya’s ultimate destiny and fall from her increasing hardships. Also, the humming and singing from the the actors and dancers throughout the play play a significant role in adding an emotional element to the overall overview of the play. The seemingly sad humming at the beginning of the play was a beautiful introduction that set an overall serious tone to the underlying issues that were at hand. Without the use of words, both of the elements of the lyrical dancers and the humming from the actors expressed meaningful emotions that continuously paved the way for the difficult situations that Onya had to
This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March to the Scaffold.
...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 piece also switches from 3/2 back to the original time, 4/2. An oboe plays on top of the ostinato, followed by the main fugue from the scherzo from a flute. A solo clarinet plays the same fugue following the flute. Both continue to play, but this time, the two are in harmony, unlike in the scherzo in which both struggled for coexistence. The same melodies are passed from the woodwinds to the brass, all the while, the ostinato starts to become more and more fragmented, “sporadic, even” (Biles, Logan). A baritone enters, playing a somber melody, and the piece ends with the basses echoing a descending step from G to
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.
subtext, Act 1 scene 2 and Act 4 scene 1 as well as the chorus speech
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 Chorus has multiple functions in the play. In act I, it set the scene and prepared the audience of what to expect. In act II, the Chorus sets the plot for the conspiracy planned against the King. It also brings out one of the major themes that occurs throughout the play, honor. In act III, help out with the plot using imagery to help the audience to picture events taking place. The prologue to act IV sets the scene up for the battle. The Chorus also gives the audience some insight into the character of Henry V as well. The prologue to the last act fills in the lapse in time that occurred since the battle was won up to the point where Henry returns to France. The Epilogue closes the play with the Chorus reminding the audience that the event depicted is hard to present on stage due to lofty subject matter dealing with such a great man as King Henry V.
... 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.
..., intensity, and length. The entire movement had a feeling of rising to a maximum point which could not be surpassed. In the third movement the flute and the piano played together and played nearly the same thing, with the exception of the flutes higher notes. This to had an increasing in intensity and tempo.
The Effects of Gravity There are some people who worry when they're outside, if they don't keep a good grip on the ground, they'll just go flinging off into space. They needn't really worry. about this, because gravity generally keeps that sort of thing from happening. The thing is, no one is really sure what causes gravity, but the effects have been studied by many. physicists and astronomers of the world.
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...