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Essay on gatsby and daisy
Dynamics of gatsby and daisy's relationship
Daisy great gatsby analysis essay
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The piece I choose for the listening guide is “Young and Beautiful” by Lana Del Rey. This song was used for the soundtrack for the film The Great Gatsby. The song follows a young couple apprehension about whether their love can last. It is parallel directly with the conflicts protracted between Gatsby and Daisy. It is comprised of a soft piano, and light drumming to create a minimalistic effect.
Timeline:
0:00- The song opens up with the calm sound of the piano. The beats per around is around 116 and the time signature is 4/4. The piano plays solo for about 15 seconds with slight humming in the background every 5 seconds. The melody is legato, it flows in a smooth manner without any breaks. The song is in repeating, strophic form with a calm rhythm.
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The piano has stopped and now the synthetic orchestra begins to play, mostly with strings and percussion. The song is composed in the key B minor and follows the same four chords throughout the entire duration. The song never strays away from these same four chords, keeping the rhythm calm throughout the whole song.
0:33 - The piano joins back in, playing a beat every 4 seconds and Lana’s dreamy vocals range from D3 to A4. The dynamics of the vocal verses are from mezzo forte and cresecno to the chorus. The timbre is dark yet gentle.
0:51- At this time the chorus begins. The dynamic of the song goes to fortissimo, the percussions begin playing a beat every 4 seconds, and the piano stops.
1:23- The chorus ends and verse 2 begins.The dynamics begin to slow back down. The transitions are mezzo forte and crescendo back to the chorus, which picks up again at 1:56.
2:30- At this time the song is coming to an end and Lana beings to sing the bridge and adds a modulation which emphasizes the power and meaning of love in the
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
...diate slight decrescendo when the chorus ends. In this case, I would argue that the instrumental background adds to the lyrics by giving it a specific beat and accentuating the sounds of the words, with sounds from the guitar or drums. The overall dynamic level in this piece is mezzo-forte, meaning somewhat loud.
Introduction: The piece begins with a major syncopated rhythm played by timpani and percussion, along with strings, then there is a modulation to minor. The brass plays a descending sequence, and the syncopated rhythm continues as the French horn plays the melody, using sequences. There is a crescendo as the orchestra repeats the melody. Pizzicato strings play a descending chromatic scale, and this is followed by the strings playing the horn melody. This is then repeated. The main melody is repeated in a variety of ways, with the maracas and snare drum in the percussion section becoming prominent. There is a crescendo with a roll of the timpani. The orchestra plays descending scales, and then there is a huge crescendo with the whole orchestra. Bass instrumen...
The fifth song was a ballad called “Last Night When We Were Young.” This song had a relaxing and romantic sound. It had a steady and constant tempo. The bassist also used the pizzicato technique during his solo in this piece.
The second chorus starts, with different verses but the same tune. This lasts from 00:51 - 01:24. At 01:25, the bridge begins. This change is noticeable due to the change in the vocals as well as the change in the piano. Both the vocals
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
The first aspect of the music I recognized was the volume, or the dynamics. It ranged from forte during the climactic moments to mezzo piano during the calmer parts, but mostly remained in this range throughout the concert. There were also several instances of crescendo and decrescendo, which served to build up tension or slow the piece down, respectively.
Just from the title the melody of the song was very luring almost toxic enough to put me into a deep sleep, but at the same time sending a slight chill down my spine. In the beginning of the song, it was inviting with the beating of the percussion instruments though from where I was sitting it looks like there is two groups taking side of the percussion players fighting it out. Once the string instrument enter into the fray the song becomes a polyphonic texture with an allegro and moderato melody. It was very balanced and almost has a theme of many Egyptian theme music. The percussion instrument takes the lead in this song with the backing of the string building up the big finale of the song. However, in the beginning to the half of the middle it was playing it a smooth moderato pace having a quadruple meter beat. The rhythm is specular because it recoursed from the percussion instrumentalist from beginning to near the end. Creating a nice dramatic expressive quality into the song. In the second half of the song, it alternated between upbeat and downbeat creating an atmosphere of a battle between two opposing forces. The song ended in a big bang sending every single person wide-awake and almost I felt a slight adrenaline before I
This is how I heard the music, piece by piece with some help to understand and ...
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had already been playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation before moving firmly into the minor in the coda, with the movement ending with an emphatic statement based on the first subject.
While Gatsby is of the “New Money” variety of the wealthy, Daisy is a prime example of a person used to the “Old Money” lifestyle, and their differing principles ultimately aid in driving the two apart.
The next transition is the first verse, spanning from 0:06 to 0:53. The guitar and the vocalist play in key with each other and the vocalist sings lyrics that tell a story of a young man that prepares to go to war. The chorus lasts from 0:53 to 1:20. The singer and the guitar are still the only sounds to be heard and the singer’s lyrics match the theme of the song. After the chorus, there is another verse from 1:20 to 2:06 and a second chorus from 2:06 to 2:36.
The piece opens with an allegro, minor melody with cymbal crashes and timpani rolls. There is a short pause then a major trill. Harp glissandos then accompany a legato oboe melody, which is repeated with a pizzicato string bass. The melody is then repeated by the whole orchestra. There is a crescendo with the tim...
... 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.