Toronto-born Broolyn-based Harris Eisenstadt is not only an efficacious drummer but also a skillful composer and arranger. With 19 records already under his belt and precious collaborations with highly respected jazz figures such as Sam Rivers, Yusef Lateef, Nate Wooley, Tony Malaby, and Bennie Maupin, Eisenstadt feels comfortable playing both small and large ensembles.
His latest body of work, Recent Developments, is an appetizing feast of musical textures, timbres, and rhythmic pulses that provide a sensational experience for listeners who lean on the avant-garde jazz style. Besides the visionary concept employed in a compositional level, Eisenstadt’s creativity benefitted with the valuable rapport established within the 8-piece ensemble. The pretty
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talented lineup includes Jeb Bishop on trombone, Dan Peck on tuba, Anna Webber on flute, Nate Wooley on trumpet, Sara Schoenbeck on bassoon, Brandon Seabrook on banjo, Eivind Opsvik on bass, and the veteran Hank Roberts on cello. In addition to introduction, prologue, epilogue, and interludes delivered by variable formations, the album contains six pieces at its core that are heterogeneous in sound but deeply tied in behavior and attitude.
After a brief-yet-energetic woodwind intro and the following dark prologue, “Part 1” slides at mid-tempo, serving as a showcase for Wooley’s nimble crusades over a structural rhythmic foundation delineated by Opsvick, Peck, and Eisenstadt.
A light-footed bass walking, well aligned with the patterned snare-drum accents, invites Seabrook to dynamically contribute in “Part 2”. His chromatic risings are interrupted by meddling circus-like orchestrations, which, in turn, leads to the cavernous reverberations liberated by Peck’s tuba.
While “Part 3” makes bold moves within a ternary setting with Bishop as a protagonist, “Part 4” holds on to a 5/4 tuba groove bolstered by Eisenstadt’s rational drumming, which supports Webber’s trippy flute. Meanwhile, other instruments join, creating a carefree bedazzlement.
The drummer not only envisions ingratiating chamber movements to be delivered in “Part 5”, calling Schoenbeck’s bassoon to the center, but also reserves the final section for his own percussive
creativity. Right before the epilogue, gleeful melodic contortions can be heard in “Part 6”, the shortest part, where Seabrook and Roberts were given orders to create a stringed entanglement of banjo and bowed cello. An indestructible feeling of unity reigns in Recent Developments since the abandonment of the musicians is never synonym of disjunction but rather indefinite freedom.
Even varied percussive tones that slap away, both in drums and struck metal, have the most understandable representations of behavior associated with witchcraft. However, in the Crucible, the score associates with sinful lust, which can make a character, like Abigail, be misread. Not all of it is dark, however. We hear the beauty of the day even though we cannot see it, but hear it. At times, we hear soothing rainforest-like sounds that calm the audience at stressful times, which mimics our feelings of Abigail. The application of subtle electronic tones exhibits a technique of purely creepy atmosphere that whines in the treble during moments of suspense and anguish (rephrase or edit or re put it
These excerpts also supply an understanding of the diversity of Garner's compositions. Many composers develop and maintain a particular conceptual style that is evident throughout all their piec...
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.
Janet K. Page, et al. "Clarinet." Grove Music Online. Oxford Music Online. Oxford University Press.Web. 15 Oct. 2013.
The concert started with a religious piece called Profanation from Jeremiah and it was based on a biblical story of a prophet named Jeremiah and his story in Jerusalem. This music piece tends to be a folk music. The music piece is managed to be divided into three sections, prophecy, profanation, and lamentation. The song starts with a solo horn fading in slowly playing over for couple seconds until a solo flute takes the roll along with a softer drum roll leading to a gathering of bassoons and clarinets.Also, the trombone enters in a high pitch increasing the song tempo.The melody throughout the song was lead by the flutes in first and then by the violins. The symphony ends with a three-note motif in a melodic gesture leading the song to end with a quiet tone.The second music piece is called candidate suite and it was conducted by Clare Grundman and has five parts. The first part is called The best of all possible worlds. In addition to Westphalia choral, Auto da fe, Glitter and be gay, and Make our Garden grow. The song starts with a high timpani hit and a brass fanfare. The melody then is lead by the trombone, and the flute joins the trombone. The tempo and the melody tend to be fast and there was soloist by the flute, clarinet, and the bassoon. The piccolo then leads the melody and shapes a descending tone. In the middle of the song, the theme sounds quiet and slows with a flute solo in the
Kamien, Roger. "Part VI: The Romantic Period." Music: An Appreciation. 10th ed. Boston: McGraw-Hill Higher Education, 2008. 257-350. Print.
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.
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
Wharram, Barbara. Elementary Rudiments of Music. Ed. Kathleen Wood. 2nd ed. Mississauga, Ont.: Frederick Harris Music, 2010. Print.
... 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.
After carefully listening to audio, one can clearly state that there are two musical ideas A and B. The piece of music has three parts, pattern of idea A,B,A. Idea A begins from 0:00 to 2:18. Idea B begins from 2:18 to 3:18. Then, after 3:18 to 4:52 the piece returns back to the first musical idea A. Idea B marks the introduction of the piano solo, a different instrument that comes in. At the end of idea B, the piano solo stops and reintroduces the instruments of idea A. The composer uses dynamics and timbre to achieve variety. Dynamics are achieved by different levels of volume the listener hears from the instruments. Furthermore, timbre is achieved by the use of a variety of instruments in the piece. The listener can distinctly hear drums, trumpets, saxophones, and bass in musical idea A and in idea b introduces a piano solo. A variety of pitch can be heard from 1:20 to 2:18, which is an improvisation, because the instrument has nots that are high and notes that are low.
We walked into the school grabbing our cases from the truck and the buses. I walked into the building with the rest of the band. Moments have passed before it was our time to go on stage. My heart was pounding and it felt like my legs would give out any second. We went out in front of the audience, standing in front of our seats waiting for our cue to sit down. A few moments later we started our first song. It went as great as could have. Now it was time for “The Witch and the Saint”. It was time to play the piece that I’ve been waiting on since we received it. It’s time. All of our hard work was about to pay off. This was our time to shine. It was our time to show everyone that we aren’t just an opening act to symphonic band. Our band was
Arnold, Denis, ed. The New Oxford Companion to Music. Vol. 2. Oxford: Oxford UP, 1983.
...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.
As you live your life, and time passes. As society changes, and opportunities come and go. One thing never changes… A drummer’s passion for music. Coming from a musically gifted family obviously fueled my passion for drumming. The first step was to join the band, and being in band was what gave me a true appreciation for music. The passion for drums came first and then an appreciation for all the hard work musicians do. Unfortunately the marching band, in high school, was not affordable for me. So I wondered how i could continue my drumming career, and eventually came to a decision. I decided to take up playing a full drum-set, and it was the best choice of my life. Playing the full set, has given so many more opportunities than the band ever