Schoenberg does this by octave displacement. Schoenberg doesn’t really develop the motif but instead represents the motif in different ways by using techniques like melodic inversions, augmentation and diminution. Schoenberg uses a large orchestra made up from brass, strings, percussion and woodwind. The instruments change quickly between each other making the piece contrast in timbre. Schoenberg also makes the instruments play at the extremities of their range either very high or very low.
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 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.
There is the acoustic country blues and the electrified city blues. Three distinctive regional styles-Delta, Piedmont, and Texas blues--evolved into three urban styles: Chicago, East Coast, and West Coast. The blues has two basic musical forms. One form follows a basic A-A-B pattern. The performer sings a verse and then repeats the first line, sometimes with some variation.
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.
I thought they were most similar to a jazz band, but they did things that a lot of different styles don’t do in America. For instance, they had a Steel drum song, a tabla, and the Tuvan throat singer. The most peculiar instrument, I thought, was the drumitar made by future man. At first, I didn’t know what it was; it looked too big to be a keyboard. Adding it all together, it felt like each sound worked together to get this awesome combination of sounds.
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.
It’s essentially an arrangement of sounds and silences, with certain sounds more pronounced than others. Generally it is very patterned and sits behind more melodic instruments, such as a lead guitar, in the mix of a song and acts as a foundation. It tends to
The intro kicks off at a very slow tempo, and then continues to speed up within each section of the song. The constant build up in tempo in this song is used in order to create stress, in order to mirror Freddy Mercury becoming more assertive and rising up to fight for what he believes in. In the last section of the song the tempo slows down to the
These 3 instruments lay down a solid structure, so that other musicians can improvise around them. A second structure in jazz music, is the head of a song. The head of a song is the main theme, or the main melody of a song. Most of the time, the head of a song is at the beginning of a song. Throughout the song musicians may return to the head of the selection, to reestablish the main melody.