The third part is even slower yet, but has a new sense of cheer to it. As the soloist sings with the instrument, you begin to get into and expect this peaceful melody to continue, when all of a sudden Bach adds in the whole choir in an instant going at a quick tempo. The notes are also crisper then before adding feelings of excitement. Throughout the parts, imitative polyphony is used, as the lines are independent yet sound together harmonically. The color and tone of the various voices and instruments flavour the melody and all appear to contribute to each other.
The use of constant melody lines, allows for a full and whole sound, giving the impression of a thick texture with no breaks. This is also evident in the Debussy Sarabande. Although it is an arguably sparse texture, with only two parts, the constant busy lines allow for a full sound, and it is only in bars 20-23 and 42-50 where we see a noticeable difference. This is shown by the lack of treble part in bars 20-23 and also the use of just chord accompaniment in bas 42 through to 50, aside from this we see evidence of a continuously dense texture, as shown that at most points there are no less than 5 singular notes playing at once. Also, in the Holbourne piece, the texture is clearly layered so that each part has a clear and regulated range, with very little crossing of parts.
Later, the strings came in as an accompanying section along with the guitar playing chords. After the English horn finished the melodic solo, Mr. Williams played the melodic line, which is almost identical to that of the English horn. Mr. Williams’s solo was very melancholic, yet uplifting. Both the soloist and the orchestra were very sensitive to harmonic changes and drama during the movement. The cadenza was very impressive musically and technically.
The melody is played in the right hand in section A and moves to the left in section B. Also, there is a lot of ornamentation in the first melodies. The overall and section A key is Db maj. In section B, it is C#. These keys have an enharmonic and tonic minor relation.
Overall, the second section is rather contrasting from the first section, as it has a different key for the music to build up to a couple of climaxes. PP- pianissimo which means very soft and FF- fortissimo which means very loud MELODY AND RHYTHM The melody is mostly lyrical and is played on the right hand, developed with ornaments. However, the melody moves to the left hand in section B, and plays a narrower range with notes lasting for a
A large number of added notes in the cantus firmus of the Agnus Dei are accounted through rhythmic imitation of the uppermost voice. Ockeghem liked to mimic the rhythmic patterns of the melodic line, and placed them into the Tenor. One such example can be found in the fifth and sixth bars of the Missa. Here, added notes are seen in the Tenor that are between the numbered notes of the borrowed Binchois melody. These notes have the same rhythmic values as the upper voices, especially the D to C as a dotted half note to quarter note, which is an imitation of the two upper voices just two beats before it.
How does the newspaper review help us to understand the singing qualities of an operatic diva such as Callas? I believe the review to be informative when discussing Maria Callas’s singing qualities. The review gives us great insight into the way Callas approached a role and shows her to have natural and incomparable technique whilst delivering with great ease the complexities of feeling. Maria Callas showed strength, vulnerability and in the case of La Traviata immense marksmanship and feeling for musical emphasis which Sargeant writes in his review “Were as impeccable as usual”. It was a combination such as this, which in the glamorous and demanding world of opera, made Callas stand out and succeed.
The third piece in my opinion was the most unique of all. This piece was very supple and had a relaxed feeling to it. A violin solo began the piece, then the piano joined in and they played together. The initial tempo was slow, but in the middle of the piece it sped up, almost seemed like chaos, but slowed again to its first tempo. This song
The lyrics, unlike in pop songs, are not that catchy and they seem to be narrative lyrics. There is no top line which is essential in pop songs. Harmony The piece is in the key of G major. The piece is completely diatonic which means it doesn’t use any chromatic notes/ only uses notes in the key. We can see it uses G , C and E minor chords the most.
In this way, I am able to experiment vastly in my improvisation by using a variety of rests, long/held out notes, sequences and patterns. The modal nature simply refers to the scale on which the melody of Impressions is based: the dorian scale. The melody is played in D, repeated in E flat and returns to D with no technical changes. When improvising, I can use the D dorian scale which is the equivalent of a C major scale starting on D and ending on D (D, E, F, G, A, B, C, D). Other scales that could be used during improvisation include the D minor pentatonic scale (D, F, G, A, C) or the D Blues scale (D, F, G, G sharp, A, C, D).