The two chromatic notes [notes not in the original key] of a sharpened 4th and a flattened 7th appear in both keys, and the vocal melody ends on the flattened 7th of D major [C natural]. The augmented 4th interval [forming a tritone] is used frequently in West side Story. The flattened 7th is a blue note [the influence from jazz]. The harmony is tonal, but the chords contain added 6th,7ths, 9ths and 11ths. There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95.
The first performances were by a couple of blue grass bands who performed with non-orchestral instruments such as the banjo and the harmonica. As time went on they performed about three songs. Then the men of the Murphysboro Fire Fighters sung a duet. Around six thirty the United Methodist
Songs of Love and War report This is a concert that I attended on April 4th, 2012. The name of the concert is the Songs of Love and War. It was performed by Dr. Dominick DiOrio and his Chamber Choir. This choir performed many great pieces. The two pieces of music that I enjoyed the most were: Historia de Jepthe by Carissimi and Battle of Jericho by Moses Hogan.
On the repeat, the soloist joins the orchestra.) VOCAL MUSIC OF THE CLASSICAL PERIOD OPERA 1) 2) 3) 4) DRAMA THAT IS SUNG IT COMBINES VOCAL AND INSTRUMENTAL MUSIC WITH PEOTRY AND DRAMA, ACTING AND PANTOMIME, SCENERY AND COSTUMES IT USES A) SOLOISTS B) ENSEMBLES C) CHORUS D) ORCHESTRA E) SOMETIMES DANCING ELEMENTS OF OPERA A) RECITATIVE (EXPLANATIONS NECESSARY TO THE PLOT) B) ARIA (RELEASES THE EMOTIONAL TENSION. THIS IS WHERE THE SINGER SHOWS OFF THEIR VIRTUOSITY C) OVERTURE (USUALLY BEGINS OPERA AND NEW ACTS D) INTERLUDES (KNOWN AS SINFONIAS DURING PERIODBOCCUR BETWEEN SCENES) E) LIBRETTOBTHE WORDS SUNG DURING THE OPERA WERE WRITTEN BY ANOTHER PERSON CALLED A LIBRETTIST) ORATORIO 1) 2) 3) 4) 5) DESCENDED FROM THE RELIGIOUS PLAY-WITH-MUSIC FIRST ONES WERE SACRED OPERAS LATER ONES LEFT THE STAGE LARGE SCALE MUSICAL WORKS (GENERALLY BASED ON A BIBLICAL STORY) PERFORMED IN A CHURCH OR HALL WITHOUT SCENERY, ACTING, OR COSTUMES
Whitley Boudreaux Music 1010 Concert Report I attended a jazz concert that took place in November 16th at ULL’s Ducrest-Gilfrey auditorium. The program was divided into two sections. It started at 7:30 p.m. and ended around 9:30 p.m. It was a free concert to the public. The first selection was a jazz guitar ensemble.
The string started with very soft repeating chord. The key changes rapidly and finally settled to tonality in bar 30. In bar 48, the melody came out by the first violin while the other string instruments played the waltz accompaniment. In bar 94, the waltz accompaniment spread and played by
In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music. On the 9th bar Miles plays the major seventh, Cannonball the 4th,Coltrane doubles Miles an octave lower and the rhythm section plays a dominant chord on the 5th. This voicing is then three times transposed and they end up playing on the eleventh bar the same voicing with the flat six on top, which means the rhythm section is playing a dominant chord on the flat seventh, which then resolves back to one after two bars and which is a substitution of a very gospel like chord change, 4 minor to
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. The coda features a dominant-tonic harmony battling with the percussion emphasizing the beat. The second movement is in theme and variation form; as the form suggested, the movement features two different pastoral themes which becomes four simple elegant variations. The motive is heard during the variations, interrupting the peaceful mood until the basses create a powerful note heralding the return of the variations. The second movement ends with the bassoon and an accelerated passage in the coda.
Appleton Middle School Spring Concert Gamelan Walter Cummings (1916-1999) 5:15 Grade Level 2 Many musical concepts are relevant in Walter Cummings’ Gamelan. Playing in unison and focusing on intonation are key. Dynamics also play a key role in portraying the medieval aspect of this piece. Longtown Legacy Cedric Adderley 4:17 Grade Level 2 This piece can teach harmony, moving out of the way of the melody, adjusting intonation, and balancing the sound with the ensemble as a whole. Shenandoah Frank Ticheli(1958) 6:45 Grade Level 3 Shenandoah consists of a melodious blend of suspending chords, solo instruments and dynamics.
The performer sings a verse and then repeats the first line, sometimes with some variation. The third line completes the thought, often with a rhyme. A second form begins with the A-A-B pattern, but it also has an additional four lines, followed by a two-line refrain. The blues are about more than being sad. They were also delivering messages in musical code.