“Manteca” by Dizzy Gillespie is not really that exiting music. The mood of the music is relaxed but also have loudness. I think there are seven choruses total. Each chorus were giving different feeling and rhythmic expressions. The solos were amazing.
Comment on how Schoenberg uses the following musical elements in this piece Tonality and Harmony Melody Rhythm Texture Timbre Peripetie is an atonal piece. This means that the piece has no key. The piece uses a lot of dissonant harmonies as well as most of the chords and melodies are often built on hexachords. The texture is mostly Polyphonic with the odd monophonic and homophonic bits. Schoenberg uses a lot of techniques to build up the texture and make it more interesting and more complex.
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.
How does Handel's use of the orchestra in Handel's Water Music Suite No.2 reflect the style of his time? During the baroque period, a vast number of the instruments used to day were not available, so Handel’s composing of the water music suite was tailored to the instruments available at his disposal. The oboe for example became popular in the baroque period often doubling up the violin parts to provide greater clarity. Handel also used it in his water music suite as it was a common instrument to be played outdoors. In Suite No.2 of The Water Music, the oboes mostly double violins 1 and 2 however did not double their quavers suggesting they were not yet as agile as the oboes used today, or occasionally play their own motifs with the bassoon.
In this piece the didjeridu was more audible than rest of the instruments. All the pieces played by the performers were Hindustani ragas with the blending of various instruments, making the traditional sound contemporary. There was various highs and lows played throughout the piece with each performer doing a solo piece. Rockwell demonstrated the raga with the accompaniment of the didjeridu. Owen also did a solo piece with the didjeridu.
Subbuteo: This song is odd in structure as it has no chorus, it does however have a certain part of the vocal melody that is repeated at intervals to add some aspect of continuity. The song has a very full feel, the rhythm is very low pitched and is handled by a bass drum and an upright double bass. The guitar, although playing the main melody, provides a harmony around which the melodies from the flute and clarinet are based during the instrumental breaks. , there is a second guitar strumming a harmony however it is almost inaudible up until the clarinet section at the end. The flute and clarinet play alternate, subtle flourishes during the verses.
3) The tenor sax solo lasts for 4 choruses. It uses fast scales and quick runs like the alto sax it is also virtuosic. 4) The piano solo lasts for 2 choruses. This solo is calmer with a simple melody with leads into a string of parallel chords. The tonality of the piece is the G Mixolydian mode, a G major scale with a blue note, which I have previously
In Mozart’s K.333 the cadences are used to reinforce the tonality, such as in bars 9-10 where the cadence is in the tonic key. Dominant pedal notes are also used to add strength to these cadences, for example in the bars 57-58. In Poulenc’s Sonata these perfect cadences are not so clear and there are occasional discords that weaken the strength of the key. An example of this is in bar 4, where a perfect cadence is suggested, however it is interrupted by the horn. These kinds of interruptions would not occur in Mozart’s pieces as they were written in the stricter classical period, whereas
In 'All Blues' each of the soloists improvises in the choruses - like a set of variations. Head-12 bar blues Intro-4 bars with drums and bass is very quiet Head-main tune played twice 4 separate solos-4 bar link between each solo Head- main tune played twice Coda-end with trumpet solo fades out Instruments Saxophone alto and tenor – Frontline instrument Trumpet using a Harmon mute-Frontline instrument Piano- Melody and solos Drum kit- Rhythm Section Double Bass-Rhythm Section Texture It has a very simple texture that is mainly Hoomophonic. The Introduction is very quiet with piano trills giving it a denser texture. The solos are Polyphonic texture the texture is thinned out for the
Of those that used randomization, only one showed significant differences supporting the use of music therapy (8). Most of the sample sizes are small, which limits generalization, but among those with larger sample sizes, there were significant differences supporting the use of music therapy for the terminally ill. Some of the studies evaluated only single music therapy sessions, and Krout (39) argued that future research should evaluate music therapy across multiple sessions. Measurement tools varied, but Calovini (36) encouraged the use of tools designed specifically for the terminally ill. Only one study utilized a measurement tool designed for the terminally ill with established reliability and validity (8). Although the studies have limitations, the results show promise for the use of music therapy in palliative care.