In bar 2, we can see the use of cross rhythms which is created by the drum kit (hi hat). Structure The overall structure of this piece goes: Intro – Verse 1 – Verse 2 – coda. Texture The piece is contrapuntal texture. It consist of different layers. The voice has the role of the main melody while the drum kit creates a layer of rhythmic pattern.
There are many different types of music in the world. Vallenato is a type of music from Columbia. Vallento comes from the phrase “nato del Valle” or native of the valley. The basic instruments used in Vallenato are the accordion, a bongo, and a guiro. It has been influenced by African European music and Colombian rhythms.
Briefly describe three contrasting techniques of improvisation; using examples from the three jazz set works you have studies. One highly common technique of improvisation is chromatic alteration throughout solos where notes outside of the chord are used in order to extend the harmony and add tensions to the chords. For example blues notes are used in all three set works. The use of the flattened 3rd and 7th are particularly noticeable in the clarinet counter melody in the 4th chorus of Hotter Than That. There are also blues inflections in the vocal and guitar duet where the flat 3rd is emphasised by bending the notes at the beginning of phrases.
The zourna, known as karamoutza and the pipiza in Greek, is a double-reed instrument that is well known throughout the Muslim world. In the Middle East, zourna is known as Mizmar. The structure of the instrument consists of double-reed instrument that held by a metal bridge and inserted into a long cone-shaped body with finger holes; the material used to for this instrument are wood and reed (Dave Fossum). Similarly, the Gaida is well known throughout the Muslim world. It is known as the Tabla.
The rapid modulation continues throughout the 1st section still going round the cycle of 5ths moving to F minor (bar 126-129), Bb major (bar 130-131), Eb major (bar 132-133), then Eb minor (134-135) and finally resolves onto the unrelated key of Bb major for the second section of the development. The rising crotchet arpeggio motif first used in bar 176 is used throughout bars 125-135. All of the keys explored the 1st section make it harmonically unstable. The 2nd section (bars 136-143) is in Bb major throughout making it harmonically stable. This section is based upon the repeated quaver motif taken from bar 45 with the motif played only in the string section (bars 138-140).
Sostenuto and sotto voce are also used to convey the poetic mood. The piece is played a la cantabile (in a singing style). Structure This piece is loosely in ternary form (ABA) and falls into 3 quite unbalanced sections; A (bars 1-27) in the key of D flat major, B(bars 28-75) in the key of C sharp major, repeated section A (bars 75-81) in the key of D flat major, and the Codetta (bars 81-99) in the key of D flat major. This piece is unusually structured for a
The melody is played in the right hand in section A and moves to the left in section B. Also, there is a lot of ornamentation in the first melodies. The overall and section A key is Db maj. In section B, it is C#. These keys have an enharmonic and tonic minor relation.
Bach wrote many Bourrees in his time as well as other composers such as Handel. The piece is in 4/4 and has 2 upbeat quavers for each phrase and a two quaver followed by a crotchet rhythm throughout the movement. Occasionally a phrase ends with a dotted minim. This is in bars 9, 14, 18 and 26 at the end. There are two parts to the piece which are the treble and bass of the piece.