The movement begins on a sympathetic note. The brass playing, trumpets, trombones, tubas, and horns all played with excellent projection and fine tuning. I felt a longing to go back to the first movement, although the tragic portions did create suspense, irony, and
Concierto de Aranjuez by John Williams at BBC Proms 2005 John Williams, who is known to be one of the best classical guitarists for many decades, was performing the Concierto de Aranjuez with the BBC orchestra at BBC Proms 2005. The Concierto de Aranjuez is one of the most famous pieces in guitar repertoire. It is a composition by Joaquin Rodrigo, a Spanish composer. It was written in 1939 when he was inspired by the gardens at Palacio Real de Aranjuez. Mr. Williams started out the first movement witth the rasgueado technique.
The motif of this piece is Tritone (G# and D). Although this song has a happy vibe, this motif adds foreshadowing. This piece has a structure that consists of: Intro; A section; B section; B1 section; A1 section; outro. There are many uses of short riffs along with long notes. Bernstein uses 3-beat ostinato to set a breathy and excited mood.
Brian Naughton MUSC1100_30 Opera Evolution Essay4 4 March, 2012 Opera’s Evolution from Baroque Era to Classical. Classical Opera's expansion and evolution owes a great deal of gratitude to the Baroque era of the early eighteenth century, but where Baroque opera was mainly designed and created for aristocracy or royal audiences, Classical opera branched out as a form of musical entertainment for the general public using the opera house as a center of experimentation. The population of the middle class would eventually become the mainstream participant engaging in opera entertainment as a response to aristocratic forms of opera. Some of Baroque's composers like Handel and Monteverdi used speech-like melodies in polyphonic textures in a linear-horizontal dimension consisting of continuous melody with wide leaps and chromatic tones for emotional effect where as classical composers such as Haydn, Mozart and Beethoven incorporated homophonic textures of chordal-vertical dimension with melody in balanced phrases and cadences with diatonic scales involving narrow leaps in their compositional works. The Baroque expressive effects of chromatic harmonies established in the major-minor key system with very brief expansions to other keys would evolve into Classical opera's favoring of diatonic harmonies expanding on the tonic-dominant scale which became the basis for classical opera's large scale form.
Certain stretches of the composition reminded me of a cross between the works of older composers such as Beethoven and Mozart, with some very similar tonic structure, though the breaks in organization depict a more experimental style. The work seems to lend itself to other avant garde pieces and carries on the overall theme of forwardness and disobedience to the norm as associated with the period. There is also a grand mixture of scales, forward and reverse, which also contribute to the overall message of the piece. To me, it is flowing along a natural timeline with breaks to signal the seasons and changes in our lives. The scales from top to bottom
The song is in waltz time (3/4) and has a basic accented cadential structure of “one-TWO-three-one-TWO-three”, in which the accent lies in the middle of the triplet pattern, and the second note is the strongest beat. The concept of dream time distortion is crucial; as the characters descend into dreams within dreams (and the time distortion effect multiplies exponentially), Zimmer’s score follows the action down. At the topmost level of the film’s plot, the score often includes small retrogrades and inversions of Edith Piaf’s original song (retrograde=flipping the order of the notes in a given phrase. Inversion=reversing the intervals between pitches while retaining the same rhythmic structure),
This creates suspense as it can be foretold that Terry will too testify. In the final confrontation with Johnny Friendly Terry wears the jacket, which creates a dramatic scene, leaving people anxious about what is about to occur next. The score written by Leonard Bernstein plays a significant role of supporting the themes of the film. The opening scene features a sounding of drums and brass, which
How does Williams create dramatic tension in scene one? Tennessee Williams creates dramatic tension in the first scene of his play “a streetcar named desire” through the means of many methods. Tension is evident in the dialogue between the protagonists. Williams also cleverly uses stage direction and grammar and punctuation with blissful ease and impressive mastery. Firstly, I would like to examine William's use of grammar and punctuation and how it is effective at creating dramatic tension.
Drafted Introduction: The warmth from the lights, the roar of the audience, and the chills from the breath taking music, to name a few, are some of the magical aspects that make the stage and Broadway so enchanting. Stephen Sondheim has not only raised the bar for Broadway productions, but as influenced and created some of the most memorable and unique stories society has ever experienced. Influenced by another musical phenomenon, Oscar Hammerstein, Sondheim has dug deep into the roots of human’s and their characteristics, and put them right in front of us in a show. He has arranged beautiful songs and lyrics together, and with powerful structure and phrasing, he is known for some of the simplest, yet most powerful musical moments on Broadway.
This has been made possible thanks to good music, excellent actors and an unpredictable story. While watching the movie Casablanca, I really enjoyed the different types of music. The music was nice because it shows all kinds of languages and sounds. For example, in one of the flashback scenes in Paris, Rick and Ilsa dance to Rhythm of Perfidia by the Mexican composer Alberto Domínguez. Also another scene from the movie, which was characterized by music and that definitely impressed me, was when Laszlo begins singing followed by many people, La Marsellesa, the French national anthem, even before the occupation of the country.