Stars and Stripes forever may have been Sousa’s reaction to building tensions leading up to the Spanish-American War, as well as the death of death of the Sousa band’s manager, David Blakely. According to Scherer (2012), Sousa wrote the piece, after learning of Blakely’s death while on a steamship returning from Europe. He is said to have sketched notes on the ship and then written the full score once on land. While Sousa was aware of its massive popularity, he may not have suspected it would be his highest achievement, or go on to be named the National March of the United States, as he had written many other wildly popular marches including the Gladiator, King Cotton, and Semper Fidelis. The Stars and Stripes Forever is in I-AA-BB-C-Br-C-Br-C …show more content…
I stands for the introduction of the piece. March introductions are often 4 bars AMERICA’S FAVORITE MARCH 5 played at forte dynamic with marcato accents. Marches are built using segments known as strains (Fennell). Strain A is a 16 measure musical idea that repeats to create a 32 measure section. Strain A is marked forte, but does have some dynamic fluctuation at measures 12 through 17. Strain B is 32 measure section, as well, with the first 16 measures at a piano dynamic marking, growing to forte for the last 16. C, also known as the trio, is a 32 measure section. Typical of a march, the piece modulates up a fourth at the trio. Br stands for break strain or interlude. The break strain is a part in a march that literally breaks up section. In the case of the stars and stripes forever, the break strain separates the first C from the second C, and the second C from the third C sections. The 1st C is marked at a piano dynamic. At measure 86 the first break strain begins at a forte, which provides a large dynamic contrast from the quieter C section. The second C maintains the energy of the break strain and the piccolo starts its solo, sometimes referred to as the “piccolo obbligato.” Next, the break strain is repeated. Finally, the piece plays out the last
The ‘Stars and Stripes Forever’ is a march by an American composer Sousa Phillip (Blackburn, 2004). The piece was premiered in 1897. It is one of the famous compositions among the composer’s works. Sousa and his band performed this piece regularly at their concerts. The piece commences with a short, exciting introduction, trailed by three contrasting melodies of different moods. Although Sousa had established his own poetry in the music, the piece is mostly heard in its instrumental structure. In 1987, the piece was nominated as the official march in the United States (Blackburn, 2004).
This movement was also in complete sonata form, like the first, but started out with a fugue, containing timpani solos and then later concluded with an abrupt
...John’s most famous pieces of music is the American march “Stars and Stripes forever”. In an act of 1987 by the U.S Congress, this song is now officially the National March of the United States of America. This song was composed on Christmas Day in 1896. He composed it just after he learned of the recent death of his band manager, David Blakely. The song was first performed at Willow Grove Park on May 14th 1897. The song is performed in the key of A-flat and follows the standard military march form.
Following the second intermission the musicians performed the Puccini which was divided into six sections. Solveig Holmquist was the conductor, Thomas C. Laine was the tenor and James Demler voice was the baritone. The chorus carries the major burden of their music. Thomas C. Laine presented the tenor in Credo, and James Demler presented the baritone in Agnas Dei. This piece also contained fugue and a chorale. Also all the instruments were blended together to produce harmony.
Composers such as Lully, Purcell and Handel used the French overture which is in two sections, each marked with a repeat. The French overture begins with a slow homophonic section frequently using dotted rhythms often ending on a half cadence and then moves to a faster fugal or "quasi-fugal" section which usually makes a return to the slow tempo and rhythms of the first section (Stolba, 1998). The Italian overture, or sinfonia as it was sometimes called, was written in three movements which are fast-slow-fast in order, the finale often written in a dance like character (Peyser, 1986). By the eighteenth century, this type of overture prevailed for operas even in France with the first movement becoming longer and more elaborate. Sonata form was generally used and a slow introduction would often begin the work (Sadie, 1980).
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
He connects the flag as more than a flag but as a symbol of the United States. “Before the bombardment in Baltimore Harbor, the Stars and Stripes had possessed little transcendent significance: it functioned primarily as a banner to identify garrisons or forts (Gelb).” Key makes a choice to refer to the flag though imagery and alliteration by describing the flag as a “star-spangled banner” and “broad stripes and bright stars.” Key also uses personification when describing the movements of the flag. He describes the flag as “gallantly streaming,” “fitfully blows, half conceals, half discloses,” and “in triumph doth wave.”
The live concert uses the sonata form to maintain the intense atmosphere through the contrasting themes. In the exposition the main theme is in a quick and loud upbeat tempo. The second theme is in a lower key and is at a slower pace, which helps create dramatic moments as the tempo changes from quick to slow. The bridge decrescendos into the development and creates a calmer atmosphere. The development then explores both themes in a slower and lower
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
‘Sonata’ at this time referred to instrumental music while ‘pian’ means soft and ‘forte’ means loud. The title of the work indicates that it is an instrumental work that has soft and loud sections. Gabrieli's composition is special because it is the first to show dynamic markings in an ensemble setting. Some sources will say that it is the first piece to portray dynamics in general, but other sources provide evidence that dynamic markings appear in solo literature composed decades beforehand. “Deeper acquaintance with the music shows that they [the dynamics] also have an emotional function, for they occur so irregularly that the listener is never certain if he will be overwhelmed with sound, or when he must strain his ears for some more subdued phrase.” Gabrieli felt that dynamics can help portray or alter the audience’s perception of a pattern of music towards a particular mood.
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.
In bar 60 the flutes bring in the forth theme a fifth apart. In bar
... 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.
From 3:20 to the end is the third section, and it returns to the first idea. In this music piece, the composer achieves the unity of the timbre; because he not only uses the brass instrument at the first and third section but also uses the piano at second section. The composer also achieves the unity of the pitch, because