The stringed instruments were the accompaniment; therefor, they began with harmonics, chromatics, and tremolo for various measures rather than having a moving part. The melody was given to the flutes and soloist, Sami Junnonen, who was also very talented. The song was about 22 minutes long and he had the whole piece memorized. It sounded very sad, but soothing simultaneously. There were visuals around the theater, which made it easier to understand and visualize what Lopez was trying to describe when writing the song.
Vivaldi was progressive musically. He established the concerto form as an instrumental standard, played with the idea that the soloist was at war with the larger orchestra and using the contrasts to dramatic effect, not only between players but in speed and volume levels as well, and he pushed the envelope on violin technique, something in which he probably remained untouched. His usual writing style was antiphony, a simple style, which allowed him to experiment with instrument solos and maintain a light and innocent texture to the music. Vivaldi was one of the rare Italian composers interested in woodwind instruments. He composed several concertos for the bassoon, oboe, recorder and flute, as well as the rarer clarinet.
It was something I could see being played on a peaceful night, as it's something I could enjoy and relax to. 4.) Title - Road Runner Artist - Bo Diddley Composer - Bo Diddley, Willie Dixon, Jerome Green, Ellas Mcdaniel Musical Traits - Not a very deep vocalist, the music was very up-tempo and he had somewhat of normal-high scream to his music, but sounded very well. The music was something that you could dance and swing around to at a pretty fast pace, as he was jamming on his guitar playing notes the entire time. Topic of Lyrics - The topic of this song is something that would go along with a party or dancing type of social event.
The slide harmonica solos conjured up a real “bluesy” feeling regardless of the tempo of the song and adding blues notes when needed. Anson’s guitar solos appeared improvisational exploring chords both in and out of the melody of the song. The keyboards provided the timbre of the song adding embellishments when needed and “taken away” when required. The bass and drums provided a steady rhythm section. While the solos were improvisational, they appeared to be rehearsed as to when they would be played in a song.
When Gilmour joined, he took much of his guitar sound from the sonic palette used for The Beatle’s The White Album. He used the arpeggios of Dear Prudence and You Never Give Me Money as jumping off points for his own playing, particularly on the tracks Any Colour you Like and Eclipse from Dark Side of the Moon. Roger Walters was a big fan of John Lennon, who took inspiration from the confessional song writing style of Lennon’s 1970 Plastic Ono Band. Possibly the biggest influence on the recording of Dark Side of the
Their new sound truly changed the way people perceived music and the world around them. The theme of the album (after the childhood nostalgic feel was trashed) took on an “alter-ego” persona and the Beatles became the Sgt. Pepper’s Lonely Hearts Club band. Paul wanted to title it “Dr. Pepper’s” at first, but decided against it due to obvious, potential lawsuit reasons, but the concept was truly unique.
Jazz Comparison ‘Deed I do’ Deed I do - Mose Allison Starts off with vocals before anything else, music is always cast around the vocals making vocals very dominant. Piano is also dominant taking up own solo In 4/4 Drums and bass very tight together, but always staying in the background. Instruments: Vocals, Piano drums, bass. The song is very simple, in stays in the key of C but a few odd notes are sometimes played to make it sound more interesting. The bass line sounds as if its walking and the drums always have a snare feeling n the background and the symbols are always very light, giving the intention the drummer is using brushes instead on sticks.
The Beatles were clever and abnormally demanding in the ways they shaped and elaborated their musical ideas. Each Beatle had a different personal style; Paul McCartney, having a natural melodic temperament voiced his romantic- sentimental confidence in a wide range of tunes that were capable of being sung or whistled without musical support (Studwell & Lonergan). His harmonic designs were the most stylish in the Beatles’ repertoire, often demonstrating classical grace and formal composure. John Lennon on the other hand preferred lines close to the narrow span of speech-inflections, depended on harmonic context to emphasize color and emotional power. Lennon-McCartney became the house name for original song writing and in many cases succeeded
The tempo is quite slow (which is typical of Pink Floyd) in “Breathe” in common time (4/4) with the first four lines of music being based on the progression Em9 – A, and the last four lines of the song being based on the more vivid chord progression CMaj7 – Bm – F – G – Dm7 . The bass moves chromatically up through D # to begin the next verse on Em9. The complexity of the song is far more Jazz influenced than the simple triadic harmony of The Beatles’ “Love Me Do”, and this element is incorporated by the use of sevenths, ninths and suspensions throughout the song. In “Love Me Do” The Beatles have used a far more basic chord progression, sticking to two simple chords throughout the song – alternating between G (tonic) and C. This is repeated throughout each verse; however the band also chose to use the chord sequence through the chorus. There is a
Occasionally, composer simply borrowed popular tunes, but more often, they wrote original themes with a popular character. Classical melodies often sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase, in such melodies, may begin like the first, but it will end more conclusively and it will be easier to sing. Dynamics and the piano - The Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change - crescendo (gradually getting louder) and diminuendo ( gradually getting softer). The end of basso continuo - The basso continuo was gradually abandoned during the classical period.