Cadence Analysis

Cadence Analysis
A cadence is the notes or chords ending a section of music with feeling of the ending. The term
cadence applies to phrases or complete sections called movements. A cadence is at least two chords
that ends a phrase, section, or piece. A cadence indicates the end of a phrase. A cadence can be
labeled as two types; "weak" or "strong" depending on its sense of finality. Cadences must be a
sense of closure, as at the end of a phrase. Rhythm plays an important part in determining where this
cadence occurs. Cadences are strong indicators of the tonic or pitch of a piece. Rhythm is the
arrangement of sounds as they move through time. You can take any rhythm and arrange it to create
music. The term rhythm is used to describe a specific pattern of
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The Analysis of Mozart's "Dies Irae" Essay
Megan Stewart
Theory III: MUSI 2311
Dr. Brian Bondari
December 13, 2010
The Analysis of Mozart's "Dies Irae" The final composition of Mozart, The Requiem mass in D
Minor, containing "Dies Irae," is known to be one of his most powerful and commended works.
This piece was composed in 1791 while Mozart was, unfortunately, on his death bed. However, he
was unable to complete it so it was then passed on to his assistant and later finished by this man.
The choral work can be very dark, for it concerns the Day of Wrath, when God will return to this
earth and pass judgment on all creatures that remain, either granting them salvation or perpetual
damnation to hell. This theme alone provides one with fear, thus it can be assumed that even ...
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In two different cases, relatively close together in the music, he uses a secondary dominant to
embellish the regularity of the effect. However, in these two different cases, the chords shift slightly,
as shown in measures 52 and 55, pictured below. V/IV I V6/5/IV IV Despite the fact that the V/IV is
basically a I7 chord, theory students of modern teachings have been taught that the chord after the
slash mark of the secondary dominant is where the secondary dominant will lead to. So, creating a
simple I chord in the figure above might be seen as a little misleading. His is seen as more
traditional in the sense of good music theory practice, but regarding that it is Mozart's piece, it is
safe to say that both will work just fine. Mozart likes to add color to his compositions by also using
Neapolitan chords. He effectively uses them as both a passing function as well as a neighboring
function. In the example provided above, Mozart cleanly exercises the passing rule of the
Neapolitan 6th chord. Refer to Figure 2, measures 36 and 37: D Minor: V7 i i N6 ( in passing
function) ◦7 Mozart clearly integrates the Neapolitan chord correctly, in the practical theory sense,
and also very well in the application of the passing function. Although the

Elton John Bennie And The Jets
Unlike most other songs of its era, "Bennie and The Jets" is a rare track that is driven by the
instrumental as opposed to the lyrics. When focusing on the instrumental more closely, it becomes
apparent that Elton John didn't just section his lyrics like traditional music, but instead sectioned the
orchestrative components into subcategories. Among all these groupings,the most significant
grouping is found in the opening measures. When analyzing the introduction to "Bennie and The
Jets", the first few seconds of the instrumental unfolds into what is the most important melody
throughout all of "Bennie and The Jets". The opening melody is not just a cog in an oiled machine,
but it is the entire belt that pulls every section in "Bennie and ... Show more content on
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Although the lyrics to "Bennie and The Jets" provide the listener with a compelling and otherwise
catchy beat, "Bennie and The Jets" has an underlying deep meaning that boils down into one line.
This line is found at the end of the chorus when Elton John states, "She's got electric boots, a mohair
suit, you know I read it in a magazine, Bennie and The Jets." To understand this line, it has to be
interpreted in reverse. The first part of this line when reading in reverse states, "Bennie and The
Jets." Here, Elton John isn't just talking about a girl named Bennie, but more specifically, a
performer named Bennie who is apart of the band "Bennie and The Jets." The next part of this line
states, "She's got electric boots, a mohair suit, you know I read it in a magazine..."Here, Elton is
explaining how people adopt trends from notable and influential people; like Bennie from the
hypothetical band "Bennie and The Jets." Focusing in on the section of the lyrics that says, "... you
know I read it in a magazine..." describes how current generations don't actually listen to music.
Overall Elton John is saying that future generations aren't capable of understanding art, but Instead
or overwhelmed and too focused on the materialistic aspects of such accredited

The Development of Harmony from Schumann through Brahms to...
The Development of Harmony from Schumann through Brahms to Debussy
In studying three composers, Schumann, Brahms and Debussy, it is possible through analysis, to
construct a Harmonic development through time – from early 1800's to early 1900's. I will go about
deducing a harmonic timeline by individually looking at each composer then will conclude with a
final comparison summarizing how different harmonic elements develop with the Romantic
Movement and its progression.
The harmonic journey will start with Schumann's Kinderszenen, or Scenes from Childhood. This is
a set of thirteen reminiscences of childhood, written during a temporary separation from Clara. They
are works about children, ... Show more content on Helpwriting.net ...
Bar 13 (and 14) also consists of a repeated perfect cadence in C major over a C pedal in the bass.
The use of pedal here is later magnified in many of Brahms' pieces, particularly in Rhapsody No.2.
In Schumann's "Frightening", in bar 21, the C major chord is followed by a tritonal harmonic leap
onto a sforzando dominant seventh chord of F–sharp major at beat 2. This chord, together with a
rising chromatic line heralds the return of the tonic key. Schumann has reinterpreted the chord of C
major as the Neapolitan chord (the flattened second) of b minor (the tonic), making the surprising
tritonal leap more logical than it initially seems. The original motivic material is presented exactly
as it occurred in bars 1–4 to provide an aesthetic harmonic balance to the piece. Textually,
Schumann's harmony strikingly contrasts the other pieces, for instance, there are often offbeat
semiquavers in the right hand creating a busier/more contrapuntal texture
The next harmonic platform is in the study of Brahms' devices and techniques in harmony and
texture. It is important to note that Brahms, in particular, led the strongest resistance to the more
extreme tendencies of musical Romanticism in general (as epitomised by Wagner's music) and I feel
this comes across in his use of harmony. Through his diligent study and

Death Schone Magelone By Ludwig Tieck
"Sind es Schumerzen, sind es Freuden"("are they sorrows or are they joys") is a song from Brahms'
song cycle Romanzen aus L. Tieck's Magelone, Op. 33 No. 3. As text for his song cycle, Brahms
chose excerpts from the novel Die schöne Magelone by Ludwig Tieck (1773–1853). The novel tells
a love story between Peter von Provence and Magelone, the king's daughter. In this particular song,
Peter and Magelone falls in love with each other. Though Brahms is most widely known as an
instrumental composer, more than half of his opus numbers are devoted to vocal works. In Brahms'
song cycles, he avoided the traditional strophic forms. Instead, he chooses dramatic shifts in music
material, unpredictable harmonies, and sudden changes in tempo and rhythm.
The song starts with an unusually long piano introduction that lasted 8 measures, gives an idea of
the large scale of this song. The rolled chords (mm.1–8) and broken octaves underneath the
beautiful melody suggesting Peter's lute. The vocal line begins with the expressive melody identical
to the beginning of the piano introduction. It is characterized by embellishments on words "sind" (to
be), "busen"(bosom) and "wünsche"(desire). Emphasizing Peter yearning for Magelone's love. The
second stanza is set to the same music as the first stanza, and Brahms even indicates this with a
repeat sign rather than notating the music twice. The harmony of the verse ends on a half–cadence
but the chords at the last measure are not rolled, (mm.20)

Chopin- Raindrop Prelude Analysis
Musical Analysis of... Chopin's Prelude in Dᵇ Major Op.28, no. 15 Genre/Style Chopin's prelude in
Dᵇ is from the romantic period, which began in the late 18th/early 19th century. Composers like
Chopin were at the forefront of this change in music, developing the writing and playing of solo
piano, orchestral and opera works and how music was performed. There were many composers from
this era that were very well known, especially in their later years, or after their deaths: Liszt,
Beethoven, Schubert, Schumann, Chopin, Verdi, Brahms, Tchaikovsky and Strauss are just a few of
the better known ones. There was a lot of experimentation at the start of the period therefore
changes in how composers wrote and played melodies, harmonies and rhythms ... Show more
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The romantic pianos on which Chopin was composing were not too different from the modern
pianos. The cast–iron frame was developed in his time allowing powerful sounds to be created–
there were two pedals– the damper and soft pedals– creating the sustained and dynamic qualities
wanted by composers. The keyboard would have been the full length, or close to the full length of
the modern piano. Structure, Tonality, Modulations and General Musicianship TERNARY FORM |
A | B | A (2)/Coda | Bars | 1–27 | 28–75 | 76–89 | Key Signature/Modulations | Dᵇ Major | C# Minor
(enharmonic equivalent) | Dᵇ Major | The piece has a time signature of 4/4 (C=common time) and is
primarily in Db Major, modulating to C# Minor (the enharmonic equivalent). The accompaniment
(left hand) through section A is based around the tonic and dominant chords– Dᵇ and Aᵇ– with the
repeated quavers being Aᵇ – the dominant. In the B section, the repeated quavers played both as
singular notes and octaves are on the dominant G#, which is the enharmonic equivalent to Aᵇ and
therefore is the repeated quaver as in section A. A) A long flowing melody that rises and falls gently.
Two distinct sections– the first introductory melody, followed by another melody which has calls
and responses in a minor key. These phrases are joined with a small rising then falling melody and
repeated. Left hand octaves are followed by arpeggios of chords/inversions of the chords. The first
section is then

Analysis Of Claude Debussy's ' Preludes '
Claude Debussy was a leading composer of the early 20th century known for his impressionistic
style and use of non–traditional scales and tonalities as well as chromaticism. Debussy's Book of
Preludes is some of his most well–known and last works for solo piano. Prelude 10, titled "Canope"
in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city
and Egyptian burial urns. Although only thirty–three measures long, and melodically and
rhythmically simple, this piece is harmonically complex and dauntingly beautiful. Several small
sections make up the form of this piece. By comparing each section based on musical elements such
as melody, harmony, rhythm, and texture, and by analyzing elements of 20th century music, such as
pitch centricity and reference collections, we will have a better understanding of this work and how
it tells the story of an ancient world.
The piece is written at a slow tempo and has a meter of 4/4 throughout. It has a soft and small
dynamic range, moving between pianissimo and piano, and a light texture. The piece is written with
three staves in order to clarify and neaten Debussy's notation. The piece has a B–flat in the key
signature, suggesting D minor. The piece mainly centers around the pitch D.
"Canope" could be considered in ternary form, with section A (mm. 1–7), B (mm. 7–26) and section
A' (mm. 26–33). It mostly follows an additive process in which motives are not developed, but
instead placed side–by–side.

Pagodes Claude Debussy
"Pagodes" is taken from Claude Debussy's "Estampes", a collection of three pieces for solo piano
composed in 1903. Working from Paris, in these pieces Debussy explores the beginnings of the new
French impressionist style that Debussy was a central innovator in, though Debussy personally
rejected the term. "Estampes" moves away from the predominantly German, late–Romantic style by
avoiding extreme length and melodic complexity in favour of, as Michael Kennedy describes it,
"conveying the moods and emotions aroused by the subject" through briefer and melodically
simpler pieces. Debussy also moves away from the tonal system, utilising techniques such as the use
of the whole–tone and pentatonic scales and quartal and quintal chords to create ... Show more
The exploration of the timbral possibilities of the piano as a percussive instrument would be
developed later in the 20th century by composers such as John Cage, for example, in his works for
prepared piano in the 1940s.
"Pagodes" makes use of just a few short melodic ideas. The piece is in a loose ternary form,
however, the B section makes use of elements heard in the A section. The first idea (bars 3–4) is
repeated verbatim three times after it is first heard. This becomes an ostinato as it is repeated in full
and broken into parts throughout the piece. A two bar scalic countermelody is heard in the middle of
the texture at bar 9. At bar 11 a new idea is introduced that uses all 5 notes of the pentatonic scale.
At bar 15 the trill–like triplet idea is introduced. A whole–tone melody is introduced at bar 33, the
beginning of the B section. These few motifs undergo little melodic variation occurs; Debussy
layers these melodies and transposes them in different octaves to create a rich contrapuntal texture
that is reminiscent of gamelan's busy and dense multi–layered texture. Western musical tradition had
placed emphasis on strict forms as a method of melodic development and contrast, such as the
Classical sonata form. Debussy was keen to move away from these conventional ideas of melodic
development, instead taking inspiration from the more free–form and layered approach to

Music And Harmony In Music
According to Goodall, harmony is a word that borrowed by other language to show the well–being,
human warm, agreement or friendliness. In music, harmony is the vertical of pitch with a part of
several pitches sounded at the same time. It unlike rhythm and melody as it was not part of music
from the beginning but it is an upstart. Harmony combined pitches into chords to please our ears.
Harmony is a magic compare to other elements of music. The tonal–gravitational forces for
harmony are more complex and powerful than the melody. It contributes to the effect of the motion
in music and it allows the component to manipulate the human emotion. Besides, harmony is music
coming together with two or more sound to make effect and all around the world ... Show more
Drone is the constant note just like deum verum the drone just follows the melody and played
parallel. However, this system gradually disappeared and new system is beginning. For an example,
"Sumer is icumen in" has special drone worked independently from the tune. When there are two
different notes played one after another, it is the beginning of chord progression. Chord progression
is the heart of western harmony that the harmony does not stay static and it moves. Whenever the
note in the melody collides with the two supporting drone, three–note chord is created and three–
note chord is the basic of western harmony.
Furthermore, harmony also contributes to the structural design of music. The arrangement of
melodic lends itself to hierarchical design more noticeably than does harmony. This is because
repetition of patterned material more obvious in melody then it is in harmony. The pattern of
frequency of vibration that created within an instrument named as harmonics. According to the
video of Goodall, when plucking a string of harp, it vibrates at different frequencies, it may two or
more different notes offer. It is creating the hierarchical of notes and

12 Bar Blues Progression Essay
12–bar Blues progression is 12 measures long (I, IV, and V chords of a key). A bar is measuring the
music against its rhythm. A bar is a vertical line that is drawn through a musical staff. The rhythm is
usually one–two–three–four. When you put stress on the two and four you get your blues
progression basic beat. Speeding up or slowing down this beat will set the tempo of the song. The
theme is in the first four line and then repeated in the fifth through eight lines. Then the closing four
bars have the original theme, but with improvisational endings adding up to twelve lines. This gives
you the 12–bar Blues progression.
In the introduction Armstrong starts with an improvise cornet solo over harmonium. On 0' 14" the
first chorus starts with "When I was Young..." which is Bessie singing. When the final two measures
of the first chorus comes on 0' 51" Armstrong does an improvisation with his cornet as a fill that
indicates the chord progression. Then the second chorus kicks in with "then I am growing old"
which is Bessie singing on 0' 57." In the final two measures of the second chorus 1' 31" Armstrong
improvised a fill with his cornet. One the first chorus Bessie repeats some of the vowels to give a
more rhythmic sound to the ... Show more content on Helpwriting.net ...
Common in blues music the chronological order of a young person growing up and needing love.
These final chorus is different from todays music because instead of Armstrong going with Bessie's
lyrics he responds to her with his cornet. In today's music the instrument follows in the background
of the vocals and follows along which is not the case in this blues

Beginner Piano
This presentation is a guide for beginner piano players. The essential concepts needed for beginner
players to transition to the intermediate level are learning the notes on the piano, establishing a
rudimentary foundation in theory, obtaining proper form and technique, practicing finger exercises,
and learning the right music. (Slide 1 and 2)
The first tip in learning how to play the piano is understanding how many keys are present, and
where each note and octave is located. A standard piano has 88 keys that consist of seven octaves.
Although there are 88 keys, there are twelve notes which are A, B, C, D, E, F and G and their
accidentals or black keys. To help find notes, there is a repeating pattern throughout the piano that
consist of two ... Show more content on Helpwriting.net ...
Of the 60 exercises, only exercises 1–20 are used to prepare beginners to develop their technique.
For newcomers, learning how to properly play Hanons 1–5 will vastly refine their technique. To see
improvements, the player should practice these exercises every day for a least 15 minutes. The sheet
music for Hanon easily accessible at free–scores.com (Slide 13)
The last part of the presentation focuses on the type of music new pianist should learn. For a
beginner, it is essential to learn to play music they want to learn. Specifically, learning basic music
they are interested in playing. If the learner does not want to play the song, they will become
uninterested and it will deter them from playing. It is always recommended to start off with a basic
songs, transition over to intermediate, and eventually to the more difficult pieces of music. (Slide
14)
There are various methods in obtaining sheet music, especially from the Internet. Sheet music is
always the preferred routine to learn how to play music because it improves sight reading. Sight
reading is the ability to read sheet music and play piano simultaneously, which will enable beginners
to music from the paper. The most popular sites for sheet music is www.free–scores.com, and
www.8notes.com. The free–scores website has a profuse library of sheet music, and offers free or
public domain sheet music. The 8notes website has a large library of music, but all their music isn't
public domain. The

Analysis of Bach´s Work Essay
Before actually going into the analysis of the actual piece itself, background information would be
helpful. The composition was written by Bach, and it is part of the sonatas and partitas for solo
violin. For this example, Partita II in d minor, movement I, Allemanda, will be discussed.
Allemanda, sometimes spelled allemande, derives from German and simply means "dance." While
there are various tempos used, this movement is usually fast, around 120 beats per minute. Strip all
the decorations and ornaments, and there is a straight–forward analysis. The piece begins and ends
in D, cadencing to tonic. There is an A halfway in between, creating a half cadence. In order words,
this can be easily be called a I–V–I, just like any other piece. ... Show more content on
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With numerous rhythms to choose from, along with a wide assortment of notes, it makes much more
sense why that G–sharp is longer than that note or why this D is only one sixteenth note. Breaking
down each rhythmical pattern will create better understanding as to why some passages have more
emphasis than others. The four 16th pattern will start. Because they are the most frequent out of any
other rhythm type, it makes logical sense they are the star of the show. It is the milk when making a
strawberry smoothie. Without the milk, it would fall apart. Milk is the base that holds everything
together, like glue. The four 16th notes are the cohesion that binds the piece into a solid entity. A
milkshake would not be defined as a milkshake without the milk. It even has the word "milk" in it.
This highlights the importance of its significance. Substituting milk might work, but it diminishes
the effects of the creation. The second rhythm pattern is the one 16th/two 32nd/two 16th. What is
the difference between the first pattern and this one? This one has two 32nd notes. Both own three
16th notes, so that one distinction is the only idea that makes it different. One clean might seem
trivial, but it establishes a notable contrast. They are the strawberries when making a strawberry
smoothie. They become second in command in terms of importance of the smoothie. It would make
sense the smoothie tastes of strawberry, does

The Desolate City Annotations
After the repetition of the dream passage beginning in bar sixty, another interlude starts in bar sixty–
eight that both transitions from the previous mood and prepares for the next. Continuity from the
previous section is seen with the arpeggiation and statements of a motive from the opening vocal
line. The interlude also helps to prepare for a more somber mood with the appearance of A@ minor,
the parallel minor. The vocal line, in which the speaker outrightly admits doubt regarding the ideal,
is marked recitative, and its chordal accompaniment is appropriately sparse. The shift to this section
is quick, with an applied dominant seventh chord to B@ minor in bars seventy–four and seventy–
five. In a moment of truth, all attention is appropriately ... Show more content on Helpwriting.net ...
They also suggest that at the very least Daniels may have been inspired by the works of composer
Roy Harris. Other later works, including Deep Forest, a setting of a translated sixth–century
classical text by Fortunatus titled Salve festa dies Op. 38, no. 1(1939), and Three Observations for
Three Woodwinds (1953) likewise suggest that Daniels may have been influenced by a few other
composers who were active during her lifetime and whose music was making a mark. These
findings indicate that Daniels moved ahead thoughtfully absorbing those new musical means that
she considered to be genuine to her

Analysis of Joni Mitchell
Joni Mitchell – River
Released in 1971 and produced by Reprise records, river is an intensely emotional contemporary
folk song about heartbreak. Written solely by Joni Mitchell for her album 'Blue' the song is
reminiscent of Christmas time although lyrically it has little relationship to Christmas. (Hopper,
2012)
Instead of using a typical verse/chorus style this song is written using different sections – A/B/C etc.
The line 'I wish I had a river' is the overlying focus point throughout the song and is used
throughout. Employing an easily recognizable common time, the song although played at a slow to
medium tempo sounds as though it is moving faster due to the ornate piano part. Using the key of C
major allows a free flowing melody ... Show more content on Helpwriting.net ...
This creates a beautiful blending of the two parts together and shows that this song was written to
showcase the vocals. Throughout section A there is a consistent IV–I chord progression. These are
aligned with each phrase and through the use of plagal cadence it makes each phrase seem resolved
before moving onto the next.
Section B follows a more erratic chord structure when the vocal melody is peaking on the vi–ii
progression. This use of the minor second creates tension over two bars before eventually resolving
to the C major.
The plagal cadence (IV–I) followed by the vi chord is evidently a consistent theme used by Joni as
we can then see in section C.
Chord Chart: Section | Chord Progression | A1, A2 | |: Fmaj(c bass) / Cmaj / | Fmaj(c bass) / Cmaj / |
Fmaj(c bass) / Cmaj / | F(c bass) / Cmaj / | Amin /// | //// | Gmaj /// | //// :|| | B1 | | Fmaj /// | Gmaj /
Gsus / | Cmaj /// | Fmaj / Amin(F bass) / | Dmin /// | //// | Cmaj / Fmaj(c bass) / | //// | Fmaj7 /// | //// | |
B2 | | Fmaj /// | Gmaj / Fmaj(g bass) / | Cmaj /// | Fmaj / Amin(F bass) / | Dmin / Emin(d bass) / |
Dmin / Emin(d bass) / | //// | Dmin7 /// | Cmaj /// | Gmaj /// | Fmaj7(c bass)

Move Your Feet By Junior Senior: Song Analysis
Nostalgic Consonance
Music, for generations, has influenced everyone's lives in some way. Friends may turn to recent
dance songs to get them motivated, or family will turn on a familiar tune during a road trip. These
road trip songs are unique due to the connection the song will have with the people in the car.
Everyone in my family has their own song. My road trip song is the early 2000s dance hit Move
Your Feet, by Junior Senior. This track is close to me due to the balance between its charming
chorus, catchy beat, and nostalgic value. By listening to the song so many times, it has reminded me
how family bonds can easily form around music.
The track eases the listener in by starting off very quiet, as if one is hearing it from a distance. ...
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One might discern that the simple melody is nice, but becomes boring after a few repetitions. On the
other hand, a child could hear this same simple melody without being bored. As children tend to
listen to these simple melodies more often, those same melodies become nostalgic later in life.
Some studies Levitin has made has shown that people's "musical preferences are also influenced by
what [they've] experienced before, and whether the outcome of that experience was positive or
negative." (Levitin 242) These studies have merit as I am a prime example. Move Your Feet has
been a favorite of mine since a young age and the nostalgia I hold for the song has affected my taste
in music as a whole today. The nostalgia this song brings forth for me is mainly from when my
sisters and I used to play a video game named Dance Dance Revolution. The game included a huge
selection of music in which the player would dance and earn points based on how accurately timed
the movements were. One might extrapolate which song was my personal favorite. Therefore, Move
Your Feet has always been known as "my song" between my sisters and I. After reading British
neurologist, naturalist, and author, Oliver Sack's article "Music on the Brain: Imagery and
Imagination," I realized that the concept of "musical imagery" exemplifies what I feel when I think
of Dance Dance Revolution. He described musical imagery as "intense and repeated exposure to a
particular piece or sort of music." (Sacks 37) I possess such an exposure to the song due to the
quotidian nature of my gaming habits. Consequently, whenever Dance Dance Revolution comes to
mind, I immediately think of Move Your Feet by Junior Senior. Additionally, at my sister's wedding,
she played this song on the dance floor. Ergo, whenever I think about that time, this song plays in
my

Aeromodel Guidelines
SAEINDIA SAE
Student Convention
Welcome to Aero–modeling using Paper Wings!
Paper Airplane models for college students!
Enjoy Learn and align with Curriculum
September 2008
Paper Wings Guidelines
This may look ridiculous and appear to be a child's play. As you use the kit and build your first
plane, you will realize that it is not all that simple. Soon you will learn to make the plane to fly and
discover the joy of flying. In the process you will learn the nuances of flying intuitively. This
document will provide you with the essential hints to make the planes and fly them. Follow the
guidelines and experience the joy of flying. At the divisional level, you will be expected to design
your own Paper Wing plane. In the finals you will ... Show more content on Helpwriting.net ...
Use a blank piece of scrap paper and make sure that no print on the paper comes into contact with
the glued parts. Since glue has the power to dissolve printing ink, the ink could smear onto the
assembled plane. Spread several layers of large scrap per over a desk or other flat surface for
protection. Set the newly glued main wing and fuselage on the papers to dry for at least 5 to 6 hours.
On for speedier drying, place "stands" of folded paper under the glued parts as shown in the figure.
This permits improved air circulation to the underside of the glued parts. When building a layered
fuselage, it is helpful to place books on top of the fuselage as a weight after gluing in order to
maintain a solid and uniform body.
the Challenge Ahead!
Meeting
SAEINDIA Student Activities SAE
Page 4 of 31

SAEINDIA SAE
Student Convention
Enjoy Learn and align with Curriculum
September 2008
Paper Wings Guidelines
When assembling the main wing is mentioned we are referring to gluing the reinforcement piece (B)
to the main wing (A) The center line for piece (B) extends about 3mm (1/8") in front and in back of
the cutting lines when cutting out piece (B) you will notice in the figure that the left and

Bethoven´s Monnlight Sonata History
Beethoven's first movement from his infamous Moonlight Sonata is most illustrious for its
bittersweet melancholic sound. It is in the key of C# minor as it has four sharps in its key signature
and sounds like it is in the minor tonality. Beethoven gives an indication to how the performer
should interpret their role with the phrase adagio sostenuto which means to play at a slow tempo (66
beats per minute) and to effectively utilize the sustained pedal. Sempre e senza sordino means to the
whole piece ought to be played with the utmost delicacy and without damper. From the
interpretations of his instructions, it can be concluded that Beethoven wanted this movement to be
interpreted with sensitivity and colour.
The bass line is a prominent feature in texturizing the movement. The most distinctive
characteristics in the bass line are its Neapolitan chords which are strategically placed amidst chords
of double octaves. This prevents the movement sounding too much like a lullaby and adds more
colour and tension. The movement starts out pianissimo and diverges between pianissimo and piano
to maintain a soothing sound. Its luxurious ostinato triplet melody creates a lullaby–like feeling
within the piece. However, the melancholic tone is instilled within the 3rd bar where the d natural
within the triplet melody stands out. This adheres to the purpose of advancing the momentum of the
piece as the lowered d provides variation in the triplet melody so it is not as repetitive. To

Aircraft Conceptual / Preliminary Design
Aircraft Conceptual/Preliminary Design
Module: AE5021
Aerospace Design and Materials
Date?
Assignment set and marked by: J Wang
Issue date: date
Submission deadline: date
Moderator and Module Leader: P.E. Barrington
Full Name K Number
Ibukun Ajayi K1317245 K K K K K K
Note: The report should be around or less than 15,000 words and no more than 70 pages, but not
less than 10,000 words. The guide line is Arial font 10, and 1.5 space
Table of Contents Gant Chart Research Specifications
Airbus UK/ University Design project 200X/0X will be provide as the costumer's requirements.
Every group should work as a team and apply the knowledge gained from previous year and this
module to produce your own specifications. Above table and a design document with appendix from
AIAA are provided as your reference.
Literature Survey
Conduct a literature survey of aircraft in the general category of the envisaged design. Make
reference to books such as Jane's All the World's Aircraft, web sites such as
http://www.bh.com/companions/034074152X/ (which is the web support for the recommended text
for this project), http://www.aircraftdesign.com/other.html, publications such as Flight International
(e.g. 24–30 October 2000), and draw up a table of critical parameters for similar aircraft. Data that
are useful in the initial conceptual design include empty and maximum take–off weight, payload,
wing area, wing span, wing aspect ratio, tail plane and fin areas, tail

Baroque Music Characteristics
Baroque Period (1600–1750)
Baroque Music Characteristics 2
Rhythm
Most baroque music has an easily recognizable strong, steady pulse, and continuity of rhythm.
Patterns of rhythmic sequences permeate much of Baroque music.
Rapid changes in harmony often makes the pieces feel more rhythmic.
Dance rhythms were frequently used in multi–movement form pieces.
Dotted rhythms were widely used.
Harmony
Figured Bass–a system of numbers placed under the music–was developed to indicate clearly the
harmonies that should be played with each note indicated in the bass line. The figured bass was
typically realized–performed–by the harpsichord.
The use of the basso continuo, also known as thoroughbass, is a bass line running ... Show more
This developed the concept of tonality.
Texture
Monophonic, texture evolved to homophonic texture in opera and solo arias, influencing both sacred
and secular music. Many instrumental compositions were also homophonic.
The soprano and bass lines are usually more important than the inner voices.
Imitation between the voices is common.
Counterpoint–a very complex and rule–bound type of polyphony in which the resulting harmony
provides the tonal organization for the music–is used extensively.
In the late Baroque, polyphony, as a result of counterpoint, was used in all sorts of compositions,
especially the fugue.
There was an increased emphasis on contrasting textures; for example, large groups of instruments
play one section and a small group plays another, or groups of instruments take turns playing the

main theme(s).
Timbre
Most of the instruments commonly used today were in use during the Baroque era.
The violin family was refined and perfected.
The beginning of musical phrases are usually highlighted by a change of timbre.
There wasn't a fixed, standard orchestral group. Ensembles were usually composed of strings, a few
woodwinds, percussion, and the harpsichord providing the basso continuo.
The Baroque pipe organ, which has a very soft, mellow tone, was used extensively.
Use of brass instruments and percussion to denote pageantry, solemnity, ceremony, and splendor
was a common trend.

Benedictus Play
In Mass in D, there are no introductions at the beginning of movements, except in the case of
"Benedictus" (Dvořák added two measures of introduction in the orchestra version). Since amateur
choirs often have a limited background in reading music, teaching intervals during rehearsal is
another important key to success. The author found it important to teach amateur singers how to
obtain the first note in every movement. In the first movement, "Kyrie," the last chord ends in D
major. Sopranos hold the tonic, altos hold the third, tenors hold the fifth, and basses hold the tonic.
As tenors are taking the lead on the second movement, "Gloria," the first note of their part is the
tonic of D. It is important to teach the amateur singers to ... Show more content on Helpwriting.net
...
However, the high notes in the tenor part on measures 113–114, singing an octave from G3 to G4,
could be challenging for amateur singers as this is a high pitch that requires a soft dynamic. The
author suggests that the conductor use a falsetto voice or simply assign only the Tenor I to sing. For
soprano, the highest note is G5 in this movement. The most challenging section would be measure
83, singing the repeating G5 and then moving down by a half step to F–sharp5. This could create
intonation problems for amateur singers. In this section, the basses are holding the D4 for three
beats, which could be a challenge for amateur singers as well. The author would suggest the
conductor not to sing this part too heavily although it is marked as forte in the score.
Movement II – "Gloria"
In Gloria, the highest and lowest notes for each voice are as follows:
The sopranos and tenors on measure 17 are holding A5 (A4 for tenors) for three and a half beats
with the dynamic of fortissimo. It could be a challenge for the amateur singers. Therefore, care must
be taken. The conductor could ask the singers not to sing too heavily so as to avoid vocal fault, but
to "think" of support. One of the most effective tools in teaching amateur singers to sing on a high
pitch correctly is to "think" opposite when singing the high note, and also to bend their knees when
singing the high note during the rehearsal.
Movement III – "Credo"
In the "Credo," the highest and lowest notes for each voice are as

Jazz Song By Frank Sinatra
1. I'm a fool to want you.
I'm A Fool To Want You, is a Jazz standard that was composed by Frank Sinatra, Jack Wolf and Joel
Herron, in 1951. The song has been recorded by many of Sinatra's jazz contemporary's, such as
Billie Holiday and Chet Baker. Frank Sinatra was born on 12 December 1915 , and hails from New
Jersey, America, and is seen as one of the biggest Jazz artists of the 20th century, having gone on to
sell more than 150 million records all over the world. He gained prominence in the swing era, and
gained success when he was signed to Columbia Records in 1943. His first Album ' The Voice Of
Frank Sinatra' was released in 1946, and he has released many records including : 'In the Wee Small
Hours' (1955), 'Songs for Swingin' ... Show more content on Helpwriting.net ...
The singer discusses how he and his partner fight, and how they both have their flaws – and that
they really don't know what to do and how to act, which isn't an issue because they aren't really
supposed to with relationships. The key of the song is F major, but it starts on a B flat Major chord
and goes to an E flat Major chord, but resolves to an F major 7th to relieve the tension that has been
caused by the out of key E flat major. The 7th in the tonic chord is used to add a comforting colour
to the tone of the piece. This Piece is John Legend's most well–known

Car Radio Musical Analysis Essay
The song I choose for this deep analysis is Car Radio by Twenty–One Pilots. I recognized three
parts in this song, meaning it has a ternary form. This analysis is divided into sections, A B A'. Each
section will explain the usage of instruments, dynamics, tempo, texture, and harmony. In the first
section, A, I recognized the usage of a piano, synthesizers, and a drum set. Different parts of the
drumset, like the cymbals and the bass drum, are playing at a pianissimo and slowly crescendo up to
a mezzo piano. In the music, the drum set plays a big role in the leaps it presents when it starts
creating a beat. The synthesizers create different sounds which add to the music of the song. The
sounds created sound, out of this world when they crescendo and decrescendo in section A. The last
instrument plays a big part as the harmony. The piano is the harmony which is played at a dynamic
of piano and mezzo piano. Although the tempo is Allegro, this part of the music is calm and happy,
making ... Show more content on Helpwriting.net ...
The usage of synthesizers and the drum–set play a big role in this part of the song. The timbre here
is not calm anymore, but fanciful and bright. The rhythm here is upbeat and makes listeners just
want to move their feet. Here the usage of synthesizers become the melody with the piano
accompanied as the harmony, making this rising action, homophonic. The singer doesn't sing much
here, but when he does, this makes this section, become polyphonic, creating two melodies
accompanied with one harmony. The singer's voice goes from baritone to tenor, singing in a major
key. The dynamics here went from piano to forte and then suddenly to fortissimo, creating leaps in
section B. These leaps creates an incomplete Cadence, making listeners want more. The artist sets
up an expectation for us, that we as listeners never receive due to this incomplete

Brahm's Intermezzo No.3, Op.119 in C Major Analysis
9/29/12
MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
Volume 13, Number 3, September 2007 Copyright © 2007 Society for Music Theory
Adam Ricci*
The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3*
ABSTRACT: Brahms's Intermezzo op. 119, no. 3 is structured around a motive with two
components–one melodic, one harmonic–that operate sometimes separately and sometimes together.
The global harmonic trajectory of the piece is embodied in the combination of these two
components; local harmonic motion proceeds through an expanded LR–cycle, with periodic short
cuts from one zone of the cycle to another. The A section unfolds a double–tonic complex while
introducing chromatic pitch classes in ... Show more content on Helpwriting.net ...
In this first appearance, the descending third is minor. Moreover, the total pitch–class content of the
progression in its first appearance is diatonic.
www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.ricci.html (click to enlarge)
Example 1. The Form
Example 2. The Two Components of the Motive
(click to enlarge)
1/10
9/29/12
MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
[7] The melodic cell and harmonic progression–J and DOWN–THIRD–UP–FIFTH– sometimes
occur independently, but for the most part interact to create a larger unit. This larger unit, given at
the bottom of Example 2, is the motive of my title.(8) Again, the fact that the motive is exclusively
diatonic is significant, because it makes the chromatic pitch classes especially salient. [8] The

opening of the piece animates the motive by repeating and varying the duration of J while
arpeggiating the chords of DOWN–THIRD–UP–FIFTH. Example 3 annotates the melody of m. 1
through the downbeat of m. 3, which fuses together three Js.(9) By fusing together three Js and
altering the duration of the final pitch of each J (the durations are , , and , for the three occurrences,
respectively), Brahms creates a symmetrical rhythmic structure.(10) The dots below the staff
indicate metric position: two dots indicate a strong beat, one dot a weak beat.(11) The first J starts
on a strong beat and concludes on a weak beat. The third J starts on a weak beat and

Music Analysis: Pop Music
Melody– This seems like one of those earlier straight forward pop songs at first. The melody is
hummable in the first part more so than less then in the later. You might even catch yourself bobbing
your head side to side. The range is restricted, on the most part, without super highs and low lows.
It's conjunct and disjunct. At first it doesn't seem to skip a beat until they wrap up on a paino/guitar
stretch after the chorus, which then just drops to a lower pitch verse. Building off of that idea I
believe there is legato mainly and staccato. Staccato is played when they're pitching their meaning
more seriously.
Harmony– Major is being played in some of the verses and all of the choruses. Then in the instance
when it drops, it goes to minor for a short while and then back to the original tune. During the
chorus, while everyone is singing along, it adds to the harmony. Same with the chords, mostly joyful
major chords at first ... Show more content on Helpwriting.net ...
The chorus lightens up while everyone is singing along. The lower vocals go along with some
serious lyrics like "I didn't kill my dad" and something about not being half Chinese. Any who, it
gets to you with its raw mentality there. Here we have a guitar, piano, drums, and vocals. The
quality of these instruments are distinctive and most notably at the piano and the harsh guitar break.
Texture– This is as basic as you can have it making it a monophony. One melodic line is being
played throughout. It has some thickness when the spectrum changes on those notes.
Rhythm– This is another ba–ker fast 4 beat song– quadruple meter. The strength of the beat varies
throughout. I thought it may have a swing sort of vibe but then it does emphasize those weak beats.
Dynamics– This song does get into your face and softens up.
Format– The format varies, it seemed like there is just a random bridge and c verse in there that
changes it

Absolute Music
The slow 12 bar introduction starts with an unusual opening of what seems like the wrong tonality
as dominant chords resolve upwards in the first 4 bars. The harmonic progression is very atypical,
constantly modulating around the tonic C major by playing chords in the dominant G major,
dominant seventh, subdominant F major and relative minor A. This sustains a dominant tension
throughout this section.
The first symphony is a prominent example of absolute music, which is music written for the beauty
of the sounds alone. Absolute music is intended to be appreciated without any particular reference to
the outside world. The term is almost exclusively applied to works in the European classical music
tradition, particularly those from the Romantic

Analysis Of The Mazurkas
This mazurka is in D major and comes from a set of four mazurkas composed by Chopin in 1838. It
has the tempo marking Vivace, which suggests a lighthearted and energetic rendition of the music.
The accent is consistently on the third beat to create the typical mazurka dance effect, and it adds
interest and character to the playing. All the mazurkas composed by Chopin have the characteristic
of the traditional Polish dance and evoke the feeling of nationalism because of Chopin's strong
identification with his homeland. These short compositions are interesting in nature and have the
strong tendency to reveal deep feelings and pathos in the listeners even if they are very condensed.
The piece starts with an accent on the third beat. The left hand has a staccato note on the first strong
beat and an accent on the last third beat. It is arguable whether such a pattern applies to the right
hand as well, but most likely it does, since the right hand also has the accompanying layer added
specifically to the second and third beats. It should be noted that although Chopin provided the
usual pedal marking which changes once per measure, it is still better to execute the staccato as if
there is no pedal held down to produce a sonic effect that is different than otherwise.
The overall structure is a simple ternary form with the middle section divided into two repeating
parts and a short coda that leads to the end. It should be noted that despite the fact that there are a lot
of changes

Understanding How Wagner Fits Into Our History Of Western...
Organising a concrete form for a style such as Wagner's is difficult given that the music lies on the
edge of what was common practice in the 19th century. The music does not easily organise itself
into the neat forms that we recognise from the classical and baroque time periods, but instead goes
beyond the confines of form and tonality that today's listeners are not familiar with. This gives the
music some unique qualities such as being unpredictable, unending, and for some, brings less
attention to the music and more attention to the drama that is being presented. Given this ambiguity,
there will certainly be different analyses and interpretations that will result in different organisations
and conclusions. Despite this however, I will attempt make a few overarching statements about the
excerpt's form, tonal organization, sequential processes, motivic use, and drama as a whole on this
multifaceted analysis of this excerpt in the hope to better understand how Wagner fits into our
history of western classical music. The excerpt may be best understood in two sections, however I
would like to present the music as instead having three sections. I have this labeled on my form
chart as sections A B and C. The organization we discussed in class presented the music as having a
binary form with the important section divider happening in 187/1/5 on the half cadence, and new
music continueing on the the next measure (187/2/1). This beginning area leading to the first
defined dominant

Musical Style Analysis
Musical Style Music has many different styles. It can create different emotions for the audience.
From a quick, cheerful march, to a slow jazz, the composer has to know which markings he should
use. He to communicate what he feels. He needs to choose the right instruments to achieve the
sound he wants. With the right instruments playing the correct volume, the music will make
anything from a warm slow tone, to a quick–paced jingle. In a concert band, the dynamics, the level
of the band, and which instruments play which parts determine the type of music it produces.
First, most music directors always urge their students to play with the correct articulation and
dynamics. Articulating, playing either smooth, connected notes, or quick short notes, adds much of
the style to any song. Music has usually three different ways for articulating, but some songs do
have others. Staccato makes short, soft notes while Legato creates either a dreamy or majestic
sound. Composers use marcato for an energetic song. The player adds an accent to every note,
meaning it starts fairly quiet, reaches a loud point, to finally cut off quiet again. All directors will tell
students over and over again to play the dynamics. ... Show more content on Helpwriting.net ...
First year bands cannot play as advanced songs as 3rd year bands. One problem for the beginners
would consist of not reaching more than one octave range. This would force composers to write
music in lower octaves, which does not make unpleasant music, but just a different tone. Most songs
for beginners only have natural rhythms, meaning no syncopation and most beginners might play
only the melody. With an advanced band, they could play more off–beat rhythms and wider ranged
music. They could also have different solos in the piece because the players do not have to rely on
eachother for all the notes to come out. The beginner music does not necessarily sound bad, just has
more simplified songs than an advanced

Analysis Of Brooke Fraser 's ' Kings And Queens '
Brooke Fraser is a New Zealand musician who has gravitated towards the acoustic, singer–
songwriter genre for most of her music career. Her latest album (2013) 'Brutal Romantic' marked a
significant shift in her music as she moved into more electronic sounds. 'Arithmetic' is a very
simplistic, acoustic song off her first album 'What to Do with Daylight' (2003). 'Kings and Queens'
is off her newest album and is a highly produced song containing elements of rock, pop and
electronic sounds. These two songs I have chosen use various music techniques and show the
development of Fraser's music over the past decade.
'Arithmetic' (AR) and 'Kings and Queens' (KQ) share three similarities with its arranging techniques
as both songs use common time 4/4 and a major tonal centre. AR is in the key of B major and KQ is
in the key of C major. The songs are played at a moderate tempo; AR is slightly faster at 117 BPM
and KQ at 100 BPM.
AR does not use the common V–Ch form that many pop songs have; instead it replaces the chorus
with a refrain. The songs form is presented below and shows that the song stays at a consistent,
dynamic level with a slight raise in the 2nd V and a peak in the Br. AR starts with a 9 bar In with a
pause on bars 8 and 9 that leads into a 3 bar Pvs; preceding an unusual V length of 9 bars. The first
Re has a bar of ¾ and creates tension as the pulse changes yet the other Re's use only 4/4. There are
two 7 bar Inst that create space from the vocal sections, with

Essay about Koyaanisqatsi
Koyaanisqatsi
Koyaanisqatsi, sometimes titled Koyaanisqatsi: Life Out of Balance, was directed by American
director Godfrey Reggio. The film deals with the relationship between humans and nature entirely
through the contrast between the music and the visuals. The tone of each scene relies purely on
composer Philip Glass' score to aid what's being shown on screen and provide meaning to what's
taking place.
Because there are no conventional story ideas or dialogue, the film takes its message from the tone
set by the music and the visuals. Glass uses key, tempo, and instrumentation to great effect, using
instruments to mimic everyday city things like car horns and using tonality to subtly change how the
viewer is interpreting the ... Show more content on Helpwriting.net ...
The organ motif then changes to an arpeggiated D minor chord and proceeds to play a descending D
minor, C major, Bb Major, A major progression. As the sequence continues, a male choir sings the
word, "Koyannisqatsi".
Knowing that the title of the film loosely translates to "Life Out of Balance" adds some hidden
depth the cave paintings and music. Both the unsettling music and primitive, albeit
thoughtprovoking, images create an apocalyptic uncertainty. Both the sound and visuals predict
something disastrous is going to happen. The music with its warning church music and the visuals
there
Although no dialogue is spoken in the entire film, the music says, literally, that life is out of balance,
and the cave paintings start the film's narrative by suggesting this may happen if something doesn't
change.
Eventually the cave paintings are ignited and debris explodes towards the camera, supporting my
earlier theory that something disastrous has been predicted.
The flames fade away revealing, not a cave wall, but the base of a rocket taking off. The music
remains unchanged, making its message even more mighty. The absence of foley sounds for the
rocket and flames only seems to enforce the power of the music.
Flight
In the "flight" sequence, the camera glides over vast open spaces of undisturbed land. The music
seems

Analysis Of Claude Debussy 's ' Canope '
Claude Debussy was a leading composer of the early twentieth century known for his
impressionistic style and use of non–traditional scales and tonalities as well as chromaticism.
Debussy's Book of Preludes are some of his most well–known and last works for solo piano.
Prelude 10, titled "Canope" in his Book of Preludes No. 2 was composed in 1913. It is meant to
depict an ancient Egyptian city and Egyptian burial urns. Although only thirty–three measures long,
and melodically and rhythmically simple, this piece is harmonically complex and dauntingly
beautiful. Several small sections make up the form of this piece. By comparing each section based
on musical elements such as melody, harmony, rhythm, and texture, and by analyzing elements of
20th century music, such as pitch centricity and reference collections, we will have a better
understanding of this work and how it tells the story of an ancient world. The piece written at a slow
tempo and has a meter of 4/4 throughout. It has a soft and small dynamic range, moving between
pianissimo and piano, and a light texture. The piece is written with three staves in order to clarify
and neaten Debussy's notation. The piece has a B–flat in the key signature, suggesting D minor. The
piece mainly centers around the pitch D. "Canope" could be considered in ternary form, with section
A (mm. 1–7), B (mm. 7–26) and section A' (mm. 26–33). It mostly follows an additive process in
which motives are not developed, but instead placed

Write An Essay On The Piano Concerto
In Ravel's Piano Concerto in G, the fundamental concerto principle of contrast is expressed through
his experimentation of timbre, range, and color coupled with his use of rhythm, polytonality, and
orchestration. In the first movement, Allegramente, the interaction, balance, and relationship
between the piano and orchestra change from section to section and also within sections to give
structure for the whole work. Ravel's orchestration, especially in the use of percussion and harp, are
important factors in adding to the character, timbre, and structure. His use of bitonality, polytonality,
and overall tonal ambiguity are also important in how he allowed the solo to stand up against the
orchestra and create tension and climax.
There's an immediate ... Show more content on Helpwriting.net ...
This is apparent from the beginning of the movement where whenever the piano was featured alone,
it expressed lyricism and color. It is also unusual in that the left hand carries the melodic content
while the right hand trills, which may be a response to the previous section with the woodwinds
flutter tonguing. Three measures before rehearsal 28 is marked accelerando, which is where I as the
soloist would plan ahead with the conductor on how I would build the

Musical Analysis of ‚ÄòFestival Overture on Australian...
This analysis of 'Festival Overture on Australian Themes' written by Colin Brumby in 1981; will use
the knowledge of the musical elements to explore how Brumby has created each of the characters in
'Festival Overture on Australian Themes' and how all of the themes in the piece have been linked
together to create the work.
The intro of the piece 'Festival Overture on Australian Themes' is uncertain in tonality, starting with
a flourish of notes for six bars, using woodwinds and strings, over bass tritones that go lower,
coming to a rest on B, the dominant of E.
The first subject; theme A, is a song called 'Jim Jones'. It is written in E minor. The piece has a very
easy flowing melody which is in 6/8 time. It is heard firstly on a solo ... Show more content on
Helpwriting.net ...
This cheerful theme is played on violins. The Bullroarer is added here. The theme is then repeated,
after that there is a sudden change into using a full orchestra. Accents and sequences create an
unsettled mood and pushes the music forward. It then builds up in tension until the sound overflows
and comes to a stop at the chord of B. A short solo on bassoon re–establishes the calm and
undisturbed character, needed for the return of the song 'Jim Jones.' The piece Van Diemen's Land is
about Tasmania, formally named Van Diemen's Land, were all the convicts were sent to pay for the
crimes that they committed. The song talks about the hardships that the 'wild and wicked' youths
will go through on Van Diemen's Land. The vigorous character of the theme represents the power of
the prison guards that hold the convicts there.
From Bars 142 – 175 the first subject; the song 'Jim Jones' is repeated, played in E minor. From bars
176 – 184, the transition between 'Jim Jones' and 'The Lime Juice Tub' is repeated, although it is
changed a little; in the last two bars, it changes into E major. Then them B1, 'The Lime Juice Tub' is
repeated in E major, along with the linking passage. Theme B2, 'The Ballad of 1891' is then
repeated in A modal. The linking passage is then repeated again, and Theme B3, the song 'Gallant
Peter Clarke' is then repeated in C major.
From bars 251 to the end is the

North Korea's Moranbong Band, My Heart
Performed by North Korea's Moranbong Band, "My Heart" is a song of contrast. Contrast between
complex and straightforward, and bright and dark, both in the instrumentation and lyrical content. It
is inside of these contrasts that the listener can begin to understand the song's political message.
Beginning with sudden, energetic burst of violins, piano, electric guitar, electric bass, and a drum
kit, the song's intro is heavily syncopated and rhythmically varied. After a short call and response
section between the piano and rest of the band, every instrument in unison performs a rising, 8th
note riff that connects to the verse. It is here when the vocals come in where the intro's powerful
energy slides into a less driving, more mellow mood. The intro grabs the listener's attention, but
once the lyrics come in the music slides back to allow the singer to be dominant.
Rhythmical, the core of "My Heart" lies in the 4/4 time signature with emphasis on the backbeat.
While the bass sticks to hitting quarter notes with the drums, guitar and piano provide syncopation
in the verses by playing on the offbeats. Together with a tempo that comfortably ... Show more
While the lyrics do not shy away from displaying the political message outright, the music also
carries this message. By utilizing contrasting elements, such as the march–like beat with sudden,
syncopated moments, and the bright instrumentation with dark harmonics, "My Heart" could be
interpreted as a battle between opposing forces, and calling on the North Korean citizens to stand up
and back their country in order to win any upcoming conflicts. The song feels like a march, further
elevating its political, militaristic message. The lyrics talk about giving everything to the country,
and the dark chords and rich backing vocals give these lyrics a dramatic weight that could help
persuade listeners to follow the narrator's example of

K. 332 First Movement Analysis Essay
Mozart Sonata No. 12 in F Major
K. 332
First Movement
Rachel Gilmore
MTC 461.001
November 26, 2012
The first movement of Mozart's piano Sonata No. 12 in F Major is written fairly typically in the
very structured sonata form. Historically is follows the main guidelines that were understood for the
form. Harmonically, is progresses like expected. There are a few surprises here and there, but they
are typical for Mozart's compositions, especially his sonatas of the 18th century. In all, it makes a
very interesting piece of work, especially with so much contrast within it.
The formal structure of the first movement is sonata form. Not only is this evident in the title but it
is very clear after an analysis of the piece has been done. ... Show more content on Helpwriting.net
...
The No. 12 F Major sonata is a great example. The first movement in itself has seven different
melodic devices.
The harmony tends to stay within the realm of normal for the 1700's. There are places, though,
where Mozart again drifts from common practices. Mozart was fairly well known for his inventive
bridge sections during the expositions of his sonatas. In these bridge sections, Mozart would begin a
theme on v (minor), ♭III, III, VI, or V that eventually creates the false sense of having transposed to
the dominant V key. Often Mozart would proceed to the tonic sounding V with an augmented sixth
chord. He does just this in Sonata number 12, as shown in the example on the top of the next page in
measures sixty–four through sixty–seven. VI7 ii7 V7 Ger+6 V
Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a
dominant to tonic feel. He further gives this effect by leading into another V with the augment sixth
German chord that has been filled out with a perfect fifth and a major third above the A♭ bass.
Though the augmented sixth chord is voiced unorthodoxly, it gives the same effect.
The chord structure of this work is very functional. Cadence points are fairly clear and the phrases
are usually of a

An Analysis of Beethoven Pathetique Sonata
An application of Analysis of Beethoven's 'Pathetique' piano sonata No. 8 inC minor, Op.13 with
particular focus on musical features such as melody, thematic content, rhythm, form and structure,
and harmony.
Bent states that analysis is the means of answering the question, how does it work? According to
Bent, analysis is a relatively young discipline "analysis as a pursuit in its own right became
established during the 19th century" (Bent, 2006, p.13), although basic methods of analysis of music
has been suggested to date back to the eighteenth century and have become a seductively
compelling and important topic for music scholars over the last fifty years, and as a result, an
extensive range of literature proclaims the value of ... Show more content on Helpwriting.net ...
8 in C minor, Op. 13 composed in 1798 focussing on musical features such as melody, thematic
content, rhythm, form and structure and harmony. This sonata has been chosen for analysis as it is
the most popular Beethoven sonata within the performance circuit, as it is a well known piece
worldwide. Secondly, Beethoven developed Sonata form, adding more thematic contrast and
contrasting melodies reflecting his own personal struggles with his progressive loss of hearing and
also his failures in his love life which all contributed to the passion and despair that is depicted
within the sonatas during his second compositional stage in his career.
Firstly, I will discuss the methods used in order to analyse the Form and Structure of the piece. The
emphasis in analysis was often given to the form and structure of the piece, especially during the
nineteenth century as this allows performers to gain knowledge more directly regarding the overall
style of the piece. The sonata is composed in Sonata form and is separated into three movements,
firstly the Grave– Allegro di molto e con brio movement, followed by the Adagio Cantabile middle
movement and finally the Rondo Allegro movement. There are different meanings to the word
structure in music, the first is to do with locating the different movements or the different sections of
the piece and the second is to look at how the piece has been put

Samantha Boshnak: Concert Analysis
Following up the 2014 album Exploding Syndrome, Seattle–based trumpeter Samantha Boshnak
reunites her stalwart quintet: Beth Fleenor on clarinets, Alex Chadsey on piano and keyboards
(replacing Dawn Clement), Isaac Castillo on acoustic and electric basses, Max Wood on drums –
and delivers Nellie Bly Project, a 4–track album that navigates on explorative waters of the avant–
garde genre while portraying the 19th–century American journalist and feminist known for her
record–breaking trip around the world in 72 days.
Boschnak's "Expositions" tears into a puissant rhythm and groove after an intriguing intro featuring
the deep tones of the bass clarinet, which, together with bowed bass reinforces the foundation's
density with swaggering stance. Rather intelligible than sprinting, the trumpet solo that follows,
momentarily complemented with clarinet punctuations, disembogues in a bridge that leads to a
vocalized ostinato interlude, obsessively iterate by the guest ... Show more content on
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Piano trills are just a small part of the great work developed by Chadsey, who cleverly infuses a sort
of spirituality in the harmonic sequences in order to exalt and stun. Vocals take over the second
section, uttering Bly's words – 'I would rather go in dead and successful than alive and behind time'.
This melody is intermittently repeated by the organist behind Fleenor's passionate solo. For the
triumphant finale, the first section is retrieved and intensified by fluttering horn stamps and decisive
percussion maneuvers.
The record ends with "Legacy", another magnetic experimentation that will certainly be appreciated
by the fans of Dave Douglas' compositional style and powerful instrumentation.
Whether functioning in spacious or dense areas, Nellie Bly Project vibrates with a raw musicality
and airs a sincere honesty in the way that attempts to capture Bly's

Perotin Is Hailed As A Kind Of Mozart Of His Time
Pérotin is hailed as a sort of Mozart of his time. He was a scholarly musician and musical innovator
. Pérotin is called by many different names: Perotinus – his Latin Name and Perotinus Magnus –
Pérotin the Great ; and even "optimus discantor", or great composer of discant. According to
Hussman, Pérotin was a court composer for Notre Dame, but his connection to Notre Dame is not
entirely confirmed. It is because of an account by the English traveler Anonymous IV and letters to
a Bishop that it is accepted that Pérotin was associated with Notre Dame. Whether he wrote
specifically for Notre Dame or not, Pérotin wrote magnificent music that has been preserved for
several centuries to this day .
The life of Pérotin is uncertain and full of speculation. Different scholars have very diverse ideas of
Pérotin's life. Tischler believed that Pérotin was born sometime between 1155 and 1160. He also
stated that he was a pupil of Leonin, the composer of the Magnus liber. Pérotin is believed to have
to have been a better organum composer the Leonin himself and even revised the Magnus liber at
the end of the 12th century between 1180 and 1190 . In revising the Magnus liber, Pérotin composed
and inserted his own clausula and puncta, such as Alleluya Nativitas into the Magnus liber. The
works of Pérotin are known to be beautiful and thoughtfully voiced with colorful textural
harmonies. Sometime after revising the Magnus liber, Pérotin began composing three–voice
organum. Later in his life,

Analysis Of The Poem ' The Thou Wilt Despatch Me '
Thomas Weelkes (c 1576–1623) was an Organist and a composer. He studied music at Oxford, and
eventually secured positions as an organist at Winchester College then Chichester Cathedral as a
choirmaster. Weelkes was a daring composer, using many dissonances amongst five voices and
varying rhythms tremendously. Nevertheless, he garnered significant success during his time and
wrote some of the best English madrigals. One of his most known pieces, O Care, thou wilt
despatch me is an interesting literary work as it has numerous contrasting lines. The primary lines
express a melancholic mood, but is juxtaposed with the gleeful phrase "Fa la la". Weelkes emulates
this the poem's tone through the use of word painting throughout the music.
O ... Show more content on Helpwriting.net ...
The first is evident in m. 3, when the bass, tenor, and alto sing "Care", and a c seventh diminished
chord is sung. It then breaks off, and is resolved into a B major chord. Nevertheless, dissonance is
portrayed in this word again when the soprano joins in at m. 7 and an augmented c triad is sung.
This is significant in delineating the sadness of the piece. This first section continues with this
technique, oscillating between dissonance and consonance. A highly consonant area is in the
following section starting at m. 15, rightfully expressing the joy that music can bring. In m. 23, there
is a dissonance for a one beat duration before the piece returns to the melancholic text. A dissonance
is heard again in a c diminished chord between the top three parts in m. 26 in the word "deadly",
bringing back the text's tension. The dissonances become less prevalent as the piece moves into the
next section discussing happiness. Properly, the first part ends on a major chord, providing an
uplifting end and supporting the triumphant mood the text brings.
The beginning of the piece, mm1–14, has longer rhythms in which notes mainly fluctuate between
half note or whole note values. The only occurrence of textual and rhythmic alignment is in mm 4–5
between the bass and alto in the word "despatch". So not only do these long notes emphasize the
melancholic mood of the text, but so does the

Cadence Analysis

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