There is a falling motif and regular (periodic) phrases. It has chorale like melody in Section B (legato cantabile). In Section A, the melody is in the right hand (treble part). The melody starts in left hand (bass) in Section B then moves back to the right hand. Chopin uses ornaments in the Section A melody and uses rubato.
However, in bar 114 the texture converts from homophonic to polyphonic. In this bar the bassoons and lower strings play the first subject, while woodwind play a counter melody. This creates a polyphonic, or contrapuntal, melody. Pedals are used frequently throughout the symphony. In the first subject, the main theme is harmonised by a tonic
The most common chord structure uses three chords: Chord 1, chord 4 and chord 5. For example: G (I) G (I) G (I) G (I) C (IV) C (IV) G (I) G (I) D (V) C (IV) G (I) G (I) However in all blues minor seventh are added to some of the chords making them sound clashy. This is where blues notes are used. This is the chord sequence for all blues: G7 G7 G7 G7 Gm7 Gm7 G7 G7 D7 # 9 E flat7# 9 D7 #9 G7 G7 Rhythm uses a time signature of 6/4 so that the chord sequence falls into 12 bars. cross rhythms and syncopation are features of the rhythm used The first bar is marked swing quavers.
The four note motive repeats in the first theme constantly repeated with variation in rhythm, instrumentation, and dynamic level. A short bridge is played the horns and then dies away. The second theme is a great contrast to the first theme. It’s in the relative major key, E flat major, playing the motive gently in the woodwinds. The development and the recapitulation manipulates the motive over and over again before pausing for an oboe solo which briefly halts the momentum of the music.
Some augmented 4th and flattened 5ve appeared. In bar229, 3 bars silence to resolve the climate than followed by many long notes and soft dynamics. Starting from bar 410 is the recapitulation, piccolos and flute bring out the theme. In the second movement, it is about the person going to the ball. The string started with very soft repeating chord.
Peter Ilyich Tchaikovsky was born on May 7, 18401. His family consisted of his parents and six other siblings. He was very close to his mother, who died of cholera when he was only 14. His father worked as a mine inspector, and also wanted Tchaikovsky to work in the civil service2. Tchaikovsky did choose to do so, working as a bureau clerk, before his passion for music dictated the rest of his life.
The instruments used in swing were brass (trumpets and trombones), saxophone, and rhythm section containing piano, guitar, bass, and drums. The piano played the melody while the guitar and bass strummed one chord on each beat knows as rhythm guitar style. In “Sittin’ In” by Roy Eldridge and Chu Berry recorded in November 1938 it is compiled of a jazz combo. This piece starts out with the trumpet then is accompanied by piano, guitar and drummer, shortly incorporating the saxophone into the melody. At about the middle of the song, the drummer has a solo part and brings back in the other instruments.
YiRi KoKo Yiri Koko is written in Gᵇ major. Choir sings in chord, most of the time is in pentatonic – you only using 5notes. No real sense of chord, modulation and dissonance (note that clash). In African music like yiri koko, they all have some common features like, repetition, improvisation, polyphony, call and response. Repetition – the restatement of a section of music.
The director, Robert Lucky, played the alto saxophone. There were four performers in this group. Chance Hopkins and Zach Rhea both played the drums and vibraphone. Erik Coleman played the piano and Ed Coussan played the bass. There were also two guest alumni saxophonists by the name of Brett Darby and Ruby Espinosa.
The horns play on the first beat a G minor 1st inversion triad shifting to an F minor first inversion triad on the third beat, while the bass jumps in on the second beat with a little 8th note pick up and plays from the tonic (Bb) an ascending Bb seventh chord in quarter notes, omits the thirds and lands on the seventh at the 4th beat. Right there the rhythm is very gospel influenced and the harmony. We have the melody accenting one and three and the bass two and four. In gospel music it is a common device to separate two and four and one and three. In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music.