Later, the strings came in as an accompanying section along with the guitar playing chords. After the English horn finished the melodic solo, Mr. Williams played the melodic line, which is almost identical to that of the English horn. Mr. Williams’s solo was very melancholic, yet uplifting. Both the soloist and the orchestra were very sensitive to harmonic changes and drama during the movement. The cadenza was very impressive musically and technically.
The first section was Franz Schubert’s Symphony No. 8 B Minor, “unfinished,” D. 759. The instruments used were fifteen violins, six violas, five cellos, three bass, two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, and a harp. The first movement is Allegro Moderato in B minor. The movement opens with a dark melody in the bass, followed by a soft flowing melody.
For example in bar 27 of the trumpet solo in Hotter Than That Armstrong plays an Ab followed by an F# before landing on the G, which is the 5th of the chord on the first beat of bar 28. This emphasises the chord tones but also adds tensions by delaying the resolution and the
There are two parts to the piece which are the treble and bass of the piece. The bass accompanies the top line throughout most of the piece but has certain parts where it takes over the melody e.g. when the piece modulates and it goes down in a scale towards the end of the piece. The harmony of the piece is complicated as it modulates frequently. It starts off in E minor for the first and second phrases but towards the end of the second phrase it modulates to G major which is the relative major of E minor.
The second part slows down greatly, giving off a more soothing vibe. The first few notes of the singer are staccato and right when you expect them to continue, it changes. The regular rhythm also adds on to the feeling of calmness. Texture is produced in the movements by Bach as the melodies are broken into fragments which allow for emphasized counterpoints. The third part is even slower yet, but has a new sense of cheer to it.
In both pieces the orchestral horns only use the open notes. But the solo horn in the Horn Concerto No.4 uses more developed techniques such as handstopping, to showcase the virtuosticity of Leutgeb, and the advanced techniques developed on the horn. In both the Mozart and Handel pieces crooked horns are used, Mozart’s in Eb and Handel’s in D. The orchestral horns in Mozart’s Horn Concerto No.4 are only used at cadence points to add to the harmony, for example in bars 80-84. Neither pieces have a basso continuo part, they use the cello and bass instead. In both
The two sonatas were reportedly first performed for Duke Georg and his family privately in the September of 1894. The two sonatas were written in F minor and E-flat major, corresponding to the two clarinet concertos by Weber (Swafford, 1997). Significance of the Study Given the significant contributions of Johannes Brahms’ compositions and music publications, several studies have been conducted on his composition styles. The current study similarly seeks to understand the differences between the viola and clarinet versions as published by Brahms, particularly focusing on the distinct characteristics of the two instruments. The study introduces new dimensions to the extant literature by exploring alterations that Brahms made for the viola and the sound of identical passages which can be expressed differently according to the instrument.
Stravinsky has re-written this music for woodwind with many contrapuntal counter melodies. In bar 11, the horn part could be described as ‘sighing’, and in bar 15, the bassoon has glissandi written in which are very unusual timbres, especially considering this music was once for solo keyboard. The final four bars before variation one are exactly as Monza wrote them, only re-arranged for wind. Variation 1 starts with the first horn
For example, the song at times changes from a quiet saxophone soli, to a loud shout chorus, to a uniquely created improvised solo. The second track on this album—“Love Theme from Hair”—is my favorite on the CD. I like this song because it is a soft ballad that is simplistically happy. Mike Vax delves into this tune and explores range, melody and emotion as the featured soloist. This song is not a standard or an original, but it holds a special place in my jazz repertoire.
He also played the clarinet and the alto horn. In saxophone, he uses the technique called “Altissimo”, which is basically, any note higher than F# (sharp), the highest range in the normal range of a saxophone. To achieve the technique, the player produces many voicing techniques such as the tongue, throat and the air stream, in result disturbing the fundamentals of a note and attaining one of the higher overtones controlling. This type of technique is common in the jazz genre. “Coltrane Changes/Cycles” is the second technique used by John Coltrane.