Bach wrote many Bourrees in his time as well as other composers such as Handel. The piece is in 4/4 and has 2 upbeat quavers for each phrase and a two quaver followed by a crotchet rhythm throughout the movement. Occasionally a phrase ends with a dotted minim. This is in bars 9, 14, 18 and 26 at the end. There are two parts to the piece which are the treble and bass of the piece.
Briefly describe three contrasting techniques of improvisation; using examples from the three jazz set works you have studies. One highly common technique of improvisation is chromatic alteration throughout solos where notes outside of the chord are used in order to extend the harmony and add tensions to the chords. For example blues notes are used in all three set works. The use of the flattened 3rd and 7th are particularly noticeable in the clarinet counter melody in the 4th chorus of Hotter Than That. There are also blues inflections in the vocal and guitar duet where the flat 3rd is emphasised by bending the notes at the beginning of phrases.
Although Mozart uses a solo Horn, both pieces have the strings as their main body. Also in the first movement Handel’s Water Music Suite No.2 the orchestra is split into two groups, which alternate throughout the movement, giving an antiphonal feel. Which is similar to that of Mozart’s Horn Concerto No.4 which is split into 2 groups, the Solo Horn and accompaniment, and the tutti sections. Both pieces use orchestral horns, but Mozart’s Horn Concerto No.4 uses a solo horn as well. In both pieces the orchestral horns only use the open notes.
Stravinsky has re-written this music for woodwind with many contrapuntal counter melodies. In bar 11, the horn part could be described as ‘sighing’, and in bar 15, the bassoon has glissandi written in which are very unusual timbres, especially considering this music was once for solo keyboard. The final four bars before variation one are exactly as Monza wrote them, only re-arranged for wind. Variation 1 starts with the first horn
“Coltrane Changes/Cycles” is the second technique used by John Coltrane. It is basically a harmonic movement in major thirds, using the note root of a chord over the usual jazz chord progressions. One of his songs called “Giant Steps” is a perfect example for the technique. John Coltrane also learned a technique called “multiphonics” from an American jazz pianist, Thelonious Monk. The technique involves a player producing several tones simultaneously by using a calm embouchure, diverse pressure, and distinct fingerings.
The first section was Franz Schubert’s Symphony No. 8 B Minor, “unfinished,” D. 759. The instruments used were fifteen violins, six violas, five cellos, three bass, two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, and a harp. The first movement is Allegro Moderato in B minor. The movement opens with a dark melody in the bass, followed by a soft flowing melody.
Chopin uses many crescendos and diminuendos. Section A is quieter than Section B, as the second section builds up to a climax with ff twice. The prelude is written in ternary form, with a structure of ABA. Section A is written in the D♭ major, while the contrasting section is written in C♯ minor. 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.
The two sonatas were reportedly first performed for Duke Georg and his family privately in the September of 1894. The two sonatas were written in F minor and E-flat major, corresponding to the two clarinet concertos by Weber (Swafford, 1997). Significance of the Study Given the significant contributions of Johannes Brahms’ compositions and music publications, several studies have been conducted on his composition styles. The current study similarly seeks to understand the differences between the viola and clarinet versions as published by Brahms, particularly focusing on the distinct characteristics of the two instruments. The study introduces new dimensions to the extant literature by exploring alterations that Brahms made for the viola and the sound of identical passages which can be expressed differently according to the instrument.
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).
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.