There are however accidentals throughout the piece, albeit rare. For example, he uses an F# in bar 10, which is from the tonic major, the scale of G major. This isn’t a common feature throughout the piece, apart from when he’s modulating to another key. Mozart uses a range of different keys throughout this piece, with it in G minor from bars 1 – 20. In the following 24 bars (20 – 44) it modulates to the relative major, being B flat major, which it remains in for the next 55 or so bars, at the end of which it returns to G minor.
Anson Funderburgh and his group have been performing since the late seventies blending a mixture of Mississippi Delta Blues with Texas funk. Sam Meyers intensified the influence of the delta blues when he joined the band in the eighties. Sam Meyers, age 63 is legally blind and a diabetic, brings a deep bluesy voice to the band that combines the basic blues progression with Texas funk to form an unique style of rhythm and blues. The group appeared not to favor any particular period as their set ranged from the basic blues AAB form to a fast paced funk, and a blues style rock. The group is comprised of: Anson Funderburgh on lead guitar.
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 touchstyle fretboard stood out from the rest of the musical instruments. Teed Rockwell played the Hindustani ragas on the fretboard with a recording of the sitar played in the background as a drone. The performers started out the first piece with slow tempo and tone with the didjeridu, fretboard and the morsing by Owen followed by playing the drums with the stick. Stephen Kent Played a blue didjeridu which he later explained was a side didj made out of pvc. The fretboard played by Rockwell sounded and looked very similar to a guitar with a Hindustani touch to it.
There are suspensions in B section. The dynamics vary from pp-ff with many crescendos and diminuendos. The dynamics are soft throughout A section whereas B section’s dynamics start soft (sotto voce) then it crescendos to ff. There is a use of Smorzando towards the end and it ends softly (p). The texture uses broken chordal accompaniment in A section, and chordal accompaniment in B section.
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.
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.
King's astonishing talent began with intedependently teaching himself to play on a homemade instruments such as the diddly bow and cigarbox guitar. Initially, Albert sang with the family gospel group in his church, but after gaining an interest to many bluesmen like T-Bone Walker and Blind Lemon Jefferson; he has grown a passion for the blues. Albert was known for his unique left-handed strumming on right handed guitars (he played the guitar upside down and backwards), razor-sharp riffs and innovative sounds. Also, for performing with the local 'In The Groove Boys' and driving a bulldozer during day, hence the name "Velvet bulldozer". King's adorning music has inspired three generations of proficient blues and rock guitarists such as Jimi Hendrix, Otis Rush, Robert Cray, Eric Clapton and Stevie Ray Vaughan.
Schoenberg also makes the instruments play at the extremities of their range either very high or very low. He also makes the instruments play in weird ways, for example, he makes the cymbal be played with a mallet and cello bow to produce an unfamiliar sound. He also uses instruments that are not used or not often used in an orchestra such as the tam-tam and the contra
Other musicians included: Jimmy Rodgers (Father of Country music), and Johnny Cash who, like Elvis Presley, recorded in Sun Studio in Memphis TN. Rockabilly was country music merged with Rhythm and Blues. It had a "hillbilly" rock sound with a fast tempo. Also known for the "twangy" sounding electric guitars, often soloing with few to no