At bar fifty-one there is a plagal cadence in G major. The second subject starts at bar fifty-two in G major. The piece continues in G major until bar fifty-seven where it modulates to D major, shown by the F sharps and C sharps, proven by the perfect cadence in D major. In bar seventy-six/seventy-seven there is a perfect cadence in G major, showing there has been a modulation. In the next few bars, Beethoven implies key changes very frequently: In bar seventy-seven he implies G minor because of the F natural and E flat.
While each group showed differences in musical style, they all displayed great skill and magnificence in their compositions. My favorite piece in the concert was “God Bless the Child” by Billie Holiday and Arthur Herzog, Jr. This piece was performed by the Strickland Quintet and consisted of a tenor saxophone, piano, guitar, drums, and bass. Unlike the previous fast paced pieces performed by this quintet, this piece started off with a slow, adagio, tempo. From the beginning, the performance caught the listener’s ear, as the saxophone played lead, followed by a soft hormonal background from the other instruments.
The Exposition begins with the first subject (bars 1-10) in b flat that ends on a perfect cadence. The next 12 bars move towards the dominant key of F major. This is called a transition section as it using the material from the first subject with a perfect cadence in the new dominant key at bars 13-14. The transition section ends with an imperfect cadence in bars 21-22. The second subject is split into two main melodic ideas which are both in the dominant of F major.
Jazz also has freedoms, which allow the jazz musicians to expand, and alter the music. A structure in jazz music, is the rhythm section of a band. The rhythm section encompasses the bass, drums, and piano. These 3 instruments perform the accompaniment, or background music, which keeps a rhythmic pulse for the soloists, or singer. These 3 instruments lay down a solid structure, so that other musicians can improvise around them.
It was something I could see being played on a peaceful night, as it's something I could enjoy and relax to. 4.) Title - Road Runner Artist - Bo Diddley Composer - Bo Diddley, Willie Dixon, Jerome Green, Ellas Mcdaniel Musical Traits - Not a very deep vocalist, the music was very up-tempo and he had somewhat of normal-high scream to his music, but sounded very well. The music was something that you could dance and swing around to at a pretty fast pace, as he was jamming on his guitar playing notes the entire time. Topic of Lyrics - The topic of this song is something that would go along with a party or dancing type of social event.
The organizational structure of paragraphs two, three, and four could be described as a. definition b. chronological order c. listing d. example _____ 6. Which of the following statements best expresses the main idea of the selection? a. Despite many hardships Louis Armstrong became a great success. b. Louis Armstrong was the first ambassador of jazz.
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 coda features a dominant-tonic harmony battling with the percussion emphasizing the beat. The second movement is in theme and variation form; as the form suggested, the movement features two different pastoral themes which becomes four simple elegant variations. The motive is heard during the variations, interrupting the peaceful mood until the basses create a powerful note heralding the return of the variations. The second movement ends with the bassoon and an accelerated passage in the coda.
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 horns play on the first beat a G minor 1st inversion triad shifting to an F minor first inversion triad on the third beat, while the bass jumps in on the second beat with a little 8th note pick up and plays from the tonic (Bb) an ascending Bb seventh chord in quarter notes, omits the thirds and lands on the seventh at the 4th beat. Right there the rhythm is very gospel influenced and the harmony. We have the melody accenting one and three and the bass two and four. In gospel music it is a common device to separate two and four and one and three. In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music.
Then, begin with measure number 58, the B section returns followed by a repetition of an A section. Subsequently, the B section repeats again with broken chords by changing “short-short-long” to “short*6”. At last, the music ends with a coda. To conclude, the form of the whole piece noted by letters is ABCBAB (coda). Moreover, other techniques used such as ornamentation and inversion as well as broken chords are also noticeable.