Introductions partis played with piano and then with xylophone. It starts off with four bar just about right rhythm. The first part, which is chorus with 32-bar form (A1 and A2), starts off slowly with the entire band without making the song boring. Right after the band plays the first chorus and interlude. I like the xylophone part because it felt like it was one part of the song.
bar 55. Within most phrases the melody arches – it rises and falls within the phrase. The phrasing for the piece is pretty regular, but at bar 12 becomes irregular. The melody is linked together by the intro, which is repeated and varied. Buckley plays the music how he thinks sounds right, therefore the song follows the natural rhythms of the words.
In the bridge, high bowed strings, sometimes using harmonics and tremolo, add a countermelody. Orchestration There are five woodwind players who double up: Clarinet and saxophone Two horns Three trumpets Two trombones Seven violins Four cellos Two double basses Drum kit Percussionists Piano Electric and accoustic guitar Structure The song does not follow a conventional verse-chorus structure, but has several musical ideas and sections that recur. The structure is: Introduction Section A Section B Section B1 Section A 1 Outro [fades
With their light brown wooden paperclip shapes, they looked more like bassoons. In 1838, Adolphe Sax un-raveled the clarinet body, and it became the straight instrument we know it as today. Despite the fact that the bass clarinet has been around for a while, the first solo recital was not performed on it until 1955, when Josef Horák marked history by being the first professional player to dedicate an entire recital to the instrument. Bass clarinets are commonly made of plastic or African hardwood with the keys, bell and rods constructed of nickel, silver or other composite metal. The mouthpiece, which holds the reed, is made of plastic, resin, hard rubber or other composite material.
The song Now in Our Lives is more relaxed and romantic compared to his other quick, strong be-bop songs. The majority of the song consists of low, sluggish melodies. However, there are many parts throughout the song that have many fast notes played. There are quite a few changes in rhythm throughout the piece which stimulates the piece. There’s a nice piano, bass and drum accompaniment that help to establish the laid-back feel of the music.
An important element of baroque instrumentation, the combination of a bass instrument (usually from the string family), such as the cello or double bass, paired with a keyboard instrument such as the harpsichord or the organ. These two instruments (the bass instrument and the keyboard instrument) read the same line of music, a bass line, so that the keyboard player improvised chords and other accompanying figures in his or her right hand. The basso continuo provided the rhythmic and harmonic support for virtually all baroque music. Bassists are a part of the rhythm section. The rhythm section consists of the bassist, drummer, and other instruments playing a
The slide harmonica solos conjured up a real “bluesy” feeling regardless of the tempo of the song and adding blues notes when needed. Anson’s guitar solos appeared improvisational exploring chords both in and out of the melody of the song. The keyboards provided the timbre of the song adding embellishments when needed and “taken away” when required. The bass and drums provided a steady rhythm section. While the solos were improvisational, they appeared to be rehearsed as to when they would be played in a song.
Bela Fleck Concert This past week, I watched a concert performed by Bela Fleck and the Flecktones. The style of music was very different from what I am used to, but I was pleasantly surprised at how well the band played. The concert was held at the Quick Center for the Arts and seemed very informal. There were several times where audience members clapped, cheered, or stood up. The concert hall appeared to be a formal concert hall.
Steve Reich: Electric Counterpoint- Third Movement The piece is written for a live guitar, 7 guitars an 2 bass guitars (pre recorded) and Steve Reich wrote it for Pat Methany who was the first to perform it in 1987. The music is mostly in E Minor but some of the later sections are in C Minor. The piece begins with guitar 1 repeating a 1 bar ostinato. A feature of minimalism that can be found in the piece is contrapuntal texture (polyphonic). All the guitars enter in canon and all of them enter on different notes so the accented notes fall into different places, this is known as metrical displacement, an example of this is at the entry of the bass guitars.
He and Colvig built various sets of gamelan instruments, including ensembles at colleges where Harrison taught at various times--Mills College, San Jose State University, and Cabrillo College. In the 1980s, with the rise of interest in the "new tonality" and world music, the world began to catch up with Lou Harrison, who by the time of his death was recorded on dozens of CDs and was the subject of many festivals and tributes. On his way to another festival in his honor in January 2003 in Ohio, Harrison suffered a