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.
The solos were amazing. In this music the solos were trumpets and saxophones. The trumpets help the music to be shouting for spirits of the music. The saxophones’
The next piece performed is Christopher Columbus. Throughout the song, there is a good low brass sound. Crisp, clean, and in tune. The Piano solo in this song is one to remember; Free and flowing, but on the beat. “How about you” featuring Rebecca Leuber was a bit sloppy.
He says "How they tinkle, tinkle, tinkle"(line 4) to describe the delicate noise they make when they ring. This enables the reader to not only imagine what the bells sound like but to actually hear them through Poe's work. Poe also concludes this section with he phrase "From the jingling and the tinkling of the bells. "(line 14) which adds to the auditory illustration of the bells. The words jingling and tinkling highlight the small size of the bells that make them so delicate.
In the bridge, high bowed strings, sometimes using harmonics and tremolo, add a countermelody. Orchestration There are five woodwind players who double up: Clarinet and saxophone Two horns Three trumpets Two trombones Seven violins Four cellos Two double basses Drum kit Percussionists Piano Electric and accoustic guitar Structure The song does not follow a conventional verse-chorus structure, but has several musical ideas and sections that recur. The structure is: Introduction Section A Section B Section B1 Section A 1 Outro [fades
The features about Mozart’s music is his passionate about his music and it brings ease, grace, spontaneity and at the same time creates balance, restraint and has perfect proportions. Mozart was especially fond of the woodwinds, in particularly the clarinet and the no one could match his tone colors. His last masterpiece Concerto for Clarinet, K. 622, is the greatest composition for this instrument (Kamien,
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
The piano was present with consonant yet vivace notes. Although the piano over took the choir in certain parts but they gained their momentum back. By the end of the show I noticed the choir had put their all into the song. I felt a warm sense of energy. This choir had to me the most proper attire for the occasion; Apple Festival apparel.
I can still hear the triangle being played here also it gave me an attention because it sounds like an ice cream bell and now I can also here something like a tambourine and drum more. Listening to it I felt like I was in a circus or carnival because with this song I can imagine that someone was performing with the clown suit. The last piece “Symphony No. 1 in E Minor” has a dark and slow music it was a long piece and it went to a little bit fast to slow again. With string, brass, woodwind, and percussion the music became dramatic and kind of heavy mood to it.
From the beginning of the piece, as the trumpeter makes his entrance, he plays long, drawn-out notes and employs minimal use of vibrato. Gaffney elegantly elongates his phrasing in order to create a soothing atmosphere as the music avoids overt flashiness and distraction, instead relying on its simplicity and steadiness to allow the listener to sink into deep contemplation. Powerful, but not overbearing, the piano accompaniment plays with a multitude of thick chords, providing rich harmonies for the melodic line. According to Bonds, the music’s character may change dramatically as a result of these harmonies (7). Demonstrating this, the piece manages to achieve a thick texture despite only utilizing two instruments due to the combination of the piano’s heavy chords and the trumpet’s warmness and consistency of sound.