However, the third song concertino for clarinet, played by Frank Bencriscutto. He did prove his talent in playing clarinet, but he was really nervous. I feel like he is too nervous to breathe. The Piece I Enjoyed the Most: Celebrations Reason: it was the first song of the whole concert, which is also my favorite one by John Zdechlik. It was beautiful melodies, the brisk pace of hearty, full of a kind of vitality and vigor up.
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.
Both pieces share this style of entry – a short solo lead-in to an immediate tutti. The melody, which in “Hey Ya!” is vocal rather than woodwind like in the unidentified work, is quite different to the melody in the unidentified work. While the unidentified work features many chromatic runs, trills and other embellishments, the melody in “Hey Ya!” is more simple, sticking to a small range and lacking in rhythmic complexity, which keeps the focus on the lyrics and the sentiment of the song, here described by Andre 3000, one half of the duo Outkast. “I think it's more important to be happy than to meet up to...the world's expectations of what a relationship should be. So this is a celebration of how men and women relate to each other in the 2000s."
A piano and saxophone then alternated the melody of the song as though they were dancing like two lovers flying to the moon. As the passion of the song heated up, the texture changed within the song as the saxophone took the melody and the piano and other instruments within the ensemble were in accompaniment. The rhythm, which was continuously steady seemed to get faster like a heart beat by the climax of the song. It was also at this point that the dynamics of the song were increasingly getting louder until all instruments met at the top with a bang and then changed the dynamics again to a moderate level until the song concluded. “Move on up” written and arranged by Richard Elliot ,is an joyous standard song most famous by Richard Elliot.
The movement opens with a dark melody in the bass, followed by a soft flowing melody. The music speeds up and intensifies, leading into energetic and stormy melody. Then, a waltzing and dance-like theme begins, growing livelier. The development follows, based on the first theme, but with thundering basses and in a massive tempest combined with moments of calm. The piece ends with an energetic close, dropping back down back into a dark melody as the storm passes.
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
His dance moves were beyond anyone's abilities and, when he performs, he brought us magic. His energy and stage presence were amazing. When he sang and dance, it wasnt about being good, or showing off what you could do, it was about doing what you feel best and about moving through the beats or having fun. His music was very emotional and the reason why people got emotional is because of his talent. People cried by listening his songs, because he performed and sang from his soul!
The flute and clarinet play alternate, subtle flourishes during the verses. The massive clarinet and horn solo builds up to a cliff drop, snare roll ending. The song is very lyrically focused and is Louis Abbot reminiscing over his childhood, the games he used to play and the problems he faced. The sheer amount of melody in this song combined with a prominent and low-end rhythm section and a fast paced tempo create a very big, full, upbeat song which manages to place importance on both arrangement and
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.
Piotr Ilyitch Tchaikovsky wrote many pieces of music but found his love in soft classical pieces. Although he lived a life that was not always classical, such as his homosexuality and his ill-fated marriage, he did make classical music come to life. The 1812 Overture was not his favorite piece but it is one of the most famous works that is associated with him. In his life, the elements, and the meaning of the piece, the listener can get a better insight of how Tchaikovsky came to get his fame. Piotr Ilyitch Tchaikovsky was a brilliant composer, composing such pieces as Swan Lake, The Nutcracker, and 1812 Overture.