A Comparison Of Alone Together By Arthur Schwartz And...

A Comparison Of Alone Together By Arthur Schwartz And...
This piece is a jazz standard that was composed by Arthur Schwartz and Howard Dietz. Schwartz was born in Brooklyn, New York on November
25, 1900 and died on September 3, 1984. He began playing piano and harmonica at a very young age and also wrote silent films at the age of
fourteen. Dietz was born on September 8,1896 and died on July 30, 1983. He was a publicist and lyrists. Him and Schwartz first started working
together when they teamed up for a Broadway show in 1929. They composed Alone Together in 1932 for the Broadway musical "Flying Colors"
(Schwartz composing the music and Dietz the lyrics). This particular piece is considered a ballad, meaning that the tune tells a story. Ballads come
from the French chanson and they are often made up of thirteen lines with an ABABBCBC form. It was originally used for dance tunes, but in the
nineteenth century it was used for slow tunes. The actual form for Alone Together is AABA. The significant thing about the first two A sections, is
that it is fourteen bars long which is very uncommon when it comes to American song writing. In common song writing, each A section is only eight
bars long. The bridge of the tune also known as the B section is quite normal. It is the standard eight bar length which leads to the last eight bars of
the third A section. The tune is written in key of D minor, but, instead of playing a D minor in the thirteenth measure of the last A section, Schwartz
decides to play a D major which is called a Picardy
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Franz Joseph Haydn's Music
Franz Joseph Haydn (1732–1809), is one of the eminent composers of the Classical period. "He is best known for his symphonies and string quartets,
which established standards of quality, style, content, form, and expressivity that other composers emulated." Haydn spent most of his career serving
the EsterhГЎzy family (1761–90), which isolated him from the music world, but forced him to become original, as he himself wrote. Carl Philipp
Emanuel Bach (1714–1788) greatly influenced Haydn. He was fascinated by the expressive style of C. P. E. Bach, and adopted its passionate quality.
The majority of Haydn's keyboard compositions are sonatas. His other keyboard works include piano trios, theme and variations, dances, fantasias, and
capriccios.... Show more content on Helpwriting.net ...
In Carnaval, although Schumann mentioned that the music was written first and the title chosen afterwards, the titles express his intimate world and
musical thoughts. Many titles are representative of real life people. Chiarina is a portrait of Clara Wieck, and Estrella is Ernestine. His friends and
musical contemporaries are Chopin and Paganini. Some imaginary characters also participate in Schumann's visionary world. Pierrot, Arlequin, and
Pantalon and Colombine are the characters from the Italian Commedia dell'Arte. Florestan and Eusebius are his alter egos. These real and not real
characters reflect Schumann's personal fantasies, and his aspiration of escaping from reality, even if it is only done

Beethoven Symphony 3 Analysis
This concert report is about , Symphony No. 3 in E–flat major, Opus 55, also called, Eroica composed by the German composer Ludwig Van
Beethoven it was composed between 1802–1804 and is a classical symphony. This one is the number third symphony of Beethoven performer and is so
beautiful and emotional. This performance is about an hour long and the form contains four movement.
The instruments that Symphony No. 3 contains are two flutes, two oboes, two clarinets in B–flat, two bassoons, three horns, two trumpets, timpani, and
strings.
Form of movement:
1.Allegro con brio
2.Marcia funebre: Adagio assai in C minor
3.Scherzo: Allegro vivace
4.Finale: Allegro molto
Structural Analysis of the 1st. Movement of the Symphony No. 3 of Beethoven:
Structure: tripartite sonata form, with three sections:
– Exposition
– Development
– Recapitulation
In the Exhibition, the main theme (A) does not have a special melodic personality. Theme A is formed by a simple triadic figure that undergoes
variations throughout the movement. Until the final coda does not return to the regular form of the beginning.
In the development we hear a new topic, which is very significant in that this section does not usually show new thematic material. The theme is
solved in the final coda and is presented in the minor variant of the main key, in E flat minor. In this central section of the symphony, we appreciate a
complex tonal process that gives us a dramatic dimension of movement. The use of the

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.

Programme Notes Atcl
ATCL Recital (Piano) Karen Wing Yee Lai 11th May, 2010 11:15 am
Parsons Music, Time Square
Programme J.S. Bach Prelude and Fugue in D minor BWV 851 [duration]
J. Haydn
Sonata in E flat major Hob. XVI:49 I: Allegro II: Adagio e cantabile III: Finale: Tempo di Minuet
[duration]
F. Schubert
Impromptu in G flat major Op. 90 No. 3
[duration]
F. Poulenc
Trois Novelettes No.1 and No.2 I: C major II: B flat minor
[duration]
[total duration]
Prelude and Fugue in D minor BWV 851 (from the Well–tempered Clavier Part I) Johann Sebastian Bach (1685–1750)

J.S. Bach was a German composer and organist. His music was important in the baroque period and is one of the greatest composers of all time. This
prelude and fugue in D minor is the ... Show more content on Helpwriting.net ...
He composed many keyboard pieces for his earlier compositions and as he aged moved on to writing more solemn and austere pieces, many for
woodwind. The Trois Novelettes are three short pieces composed for solo piano. The third novelette was written in 1959 and was later added. The first
novelette, in C major, is an example of his illustrative multi–layered piano writing. This was composed in 1927. With the charming melody, this piece is
tuneful and song –like. The piece has many sections, each with a different texture . The style is very dreamy. This feeling can be brought out with the
fuzzy pedalling and the melody ringing out on top. The second novelette, in B flat minor, is very rhythmic and playful, similar to the style of a
Scherzo. It was composed a year after the first. There are many chords and accented notes, with a contrast of the melodic slurred notes and jumpy
staccato notes.
(170 words)
Total: 678

Composer Report: Ludwig Van Beethoven Essay
Composer report: Ludwig van Beethoven
On 17 December 1770, Ludwig van Beethoven was born. He was an amazing and great classical musical composer. He is known for being the most
famous composer of the classical and romantic periods of music. According to the "Enjoyment of Music" manual, Beethoven was born in Bohn,
Germany. His father, with his grandfather, was the two singers at the court of a local prince, Friedrich Max. (Forney and Machlis 197).
Beethoven began to take an interest in music from an early age. Johann, his father taught him day and night playing music. Unfortunately, Johann had a
problem with alcohol and become alcoholic. Johann, who noticed the talent of his son and realized how he was good. Viewing it as Beethoven... Show
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Beethoven returned to Vienna in 1972 to continue his musical education. Beethoven never returned to his hometown and stayed in Vienna for a while.
The in Vienna, Beethoven had valuable lessons from Wolfgang Amadeus Mozart, Joseph Hayden, Johann Georg Albrechtsberger, Antonio Salieri, and
Aloys Forster. Each of them had taught Beethoven something special. Beethoven quickly adopted a reputation as a great pianist, a child prodigy.
Everyone in the music industry has learned to admire Beethoven and his talent.
After many personal crises in his life, Beethoven's music reflects his mood. His masterpiece represented struggle followed by triumph. Later, his
influence has been worked by the ideals of the Enlightenment, which led him to dedicate the symphony "Erotica" Napoleon. Symphony "Ode to
Joy" was estimated at about the brotherhood of humanity. His works are admired for their intellectual depth, intense expression, and experimental
forms. It is considered one of the greatest minds of humanity. His work was ambitious head of the transition between eras of classical and romantic
music led Beethoven's life of a child to an adult. A overcame alcoholic father; the death of his mother did not, and has provided a way to support his
family. He carried through personal crises, including the loss of his hearing and earned him critical acclaim in social circles. His

Program Note for L.Dip.A ANZCA
Toccata in FunkBradley G. Eustace (b.1978) Moderate speed with energy Bradley Grant Eustace, the son of Robert and Rita Eustace, was born in
Cairne, Australia on July 12th, 1978. Eustace is an Australian composer, arranger, publisher, and pianist who had been one of the nominees of the top
five in the Classical/Jazz section of the 2008 National Music Oz Awards. He started learning many musical instruments in the age of 8 and he got his
first Associate Diploma from Yamaha Music Foundations when he was 15. In 1995, he won a MOST (Most Outstanding Student) scholarship in the
State of Queensland on bass clarinet. Then, he graduated as Diploma in Music Technology with the Australian Guild of Music Education in 2001 and
got the Master... Show more content on Helpwriting.net ...
He is known as a pianist, composer, and educator who graduated from University of Melbourne in focus on music performance with title Bachelor
of Music. Since he learnt piano in age 8, he began to love improvising and he took music composition class when he was in college. He composed
pieces mostly for educating his students, to develop performance techniques and awareness of intelligent design. As a proof of his dedication in
educating people, his works are listed in Australian examination syllabi and often heard in many music competitions, such as Theme and
Deviations (1990), A Gangster Suite (2003), Red Hot Rhapsodies (1997). Red Hot Rhapsodies is a suite that consists of 3 folkish and virtuosic
pieces composed for solo piano in 1997. It is like a sonata which Transylvanian Romp as the first movement, Siesta as the second movement, and
Jamaican Fumble as the third movement. Transylvanian Romp starts in supertonic of C Major key and the actual key reveals in the end of the piece.
It has an irregular time signature 7/8. The articulation, legato and staccato, shows the grouping of rhythm that always changes, such as 2+2+3,
2+3+2, 3+2+2, 3+4, 4+3. The form of this piece is free form but the first theme appears several times in many variations. The melody of this piece is
always moving forward without pause or stop.

The Romantic Era Of Felix Mendelssohn
During the romantic era, there were many great composers that made the Romantic period the most innovative in music history. But Felix Mendelssohn
is often viewed as a Classical–Romantic composer, whose style paradoxically incorporated elements of formal balance and graceful control on the one
hand, and romantic subjectivity and fantasy on the other. Felix Mendelssohn (Jakob Ludwig Felix Mendelssohn–Bartholdy) was a German composer,
pianist, musical conductor, and teacher, and one of the most–celebrated figures of the early Romantic period. Through his music, he largely observed
Classical models and practices while initiating key aspects of Romanticism. Mendelssohn was born of Jewish parents, Abraham and Lea Salomon
Mendelssohn, who he first learned piano from. In 1811, during the French occupation of Hamburg, the family had moved to Berlin, where
Mendelssohn studied the piano with Ludwig Berger and composition with Carl Friedrich Zelter, who, as a composer and teacher, exerted an enormous
influence on his development. Later he traveled with his sister Paris, where he took further piano lessons and where he appears to have become
acquainted with the music of Wolfgang Amadeus Mozart. Mendelssohn was an exceptionally gifted musical composer. A prodigy, reared in a highly
cultured atmosphere, began composing at age 10, presented his orchestral compositions to illustrious audiences at the family estate. He wrote numerous
compositions during his boyhood, among them 5 operas, 11

Paper 2: Instrumental Music
MUS 121 256W
Instructor: Y. Kim, P. Roubal
Paper 2: Instrumental Music
Yiziying Chen
Appreciation of "Nocturne for piano No.2 in E flat major, Op.9/2, CT. 109"
In the stream of classical music history, many well–known composers used their intelligence to arrange the notes, put melodies together, link up chords
with chords subtly, leaving the audiences aural feasts. Talking about classicalmusic composers, no one should ever forget one legendary person and
his name is FrГ©dГ©ric Chopin. Chopin left the world numerous masterpieces, making the descendants engrave his name on minds. As for me, my
first piano CD was a Chopin's album Chopin: Nocturnes played by Chinese classical pianist Yundi Li and one special music "Nocturne for piano No.2 in
... Show more content on Helpwriting.net ...
9, No. 2"is especially catchy and memorable by its rounded binary form. Generally speaking, first half of the melody is made up with two related
sections in the arrangement of "a, a, b, a, b, a". The music opens with form "a", which lasts 26 seconds, followed by a repetition of the same form.
Although in the same form, there are some shifts of chords in the right hand performance between the first two sections. At 53 seconds, form "b"
starts with a more soft rhythm. As the two sections reoccur one after the other, each becomes increasingly ornamented. At 1 minute and 8 seconds,
approaching the end of form "b", the tone goes upward and meets a crescendo. Continuing the upward movement, at 1 minute and 20 seconds, form
"a" comes back again. It is the third time form "a" emerges, in a higher pitch than the previous two. Then, at 1 minute and 48 seconds, the tone rises
and starts the second time of form "b". The fourth appearance of form "a" leads to a higher pitch, foreshadowing the following climax part. At 2
minutes and 45 seconds, the rounded binary form ends and a new melody starts, putting a marker for the upcoming high point. There is a conspicuous
sforzando at 3 minutes and 19 seconds unfolding the climax. The climax lasts 19 seconds and in the process, the melody stays in a highest pitch and
loudest tone. The following part follows a decrescendo and the beat becomes slow, indicating the

New York Piano Society
The concert that I went to was New York Piano Society hosted by Baruch College. It was a classical chamber music concert just with the Piano.
There were a intermission of about 15 minutes. The sections played at the concert were; Piano Sonata in D Major, K.311 by Wolfgang Amadeus
Mozart, Sonata in b minor, Op,58, No.3 by Frederic Chopin, Consolation in D–flat Major, No. 3 by Franz Liszt, Etudes from Op.25 Frederic Chopin,
Sonata in b–flat minor, Op.36, No.2 by Sergei Rachmaninov, Mazurka, Op. 15& 27, No. 1& 3, Sonata in a minor, K.54 Domenico Scarlatti, Valle
d'Obermann, Franz Liszt and last but the least Sonata fro Violin and Piano in c minor, Op.30, No.7 by Ludwig van Beethoven. I was fascinated by all the
performances, I think that maybe ... Show more content on Helpwriting.net ...
The dynamic was Mezzo Piano, soft and quiet. With a D major tonality. My impression was that this piece was sweet and warm.The second
composition Sonata in b minor, Op,58, No.3 by Frederic Chopin, which has 2 movements; allegro maestros and presto non tanto. The dynamic was
decrescendo, it started at Forte and then pianissimo. The tonality in b minor. The next composition Consolation in D–flat Major, No.3 by Franz Liszt,
the dynamic was pianissimo and crescendo. This piece made me feel so pleased, it was so quiet and soft that made you feel so calm and inspiring,
you could feel the passion in which this piece is played. Sonata in b–flat minor, Op.36, No.2 by Sergei Rachmaninov, it has two movements; Non
allegro and Allegro molto. The dynamic was decrescendo, it started at fortissimo and slowly went to Piano. The next one Valle d'Obermann by Franz
Liszt, the dynamic of this composition was Pianissimo and Piano, so quiet and soft, that you can barely hear it. And last but not the least Sonata for
Violin and Piano in C minor, Op.30, No.7, the dynamic of this composition crescendo, with a tonality in c minor. This was my favorite part of the
concert, the sound between both instruments really amazed me, its vivic, joyous,sweet, mellow, strong, yet

Pill-Up Experiments
The purpose of this research study was to determine how performing curl–up exercises on labile surfaces impact abdominal muscular activity compared
to performing curl–up exercises on stable surfaces.
Subjects and Methods
The participants in this study consisted of eight volunteers who were men. Their average age was 23.3 years old, average height was 5'10", and
average weight was 160 pounds. All of these men were healthy, no history of low lumbar injuries or pain. Their prior abdominalmuscle exercising
history was unknown. A written consent for each participant was provided before the study began. The participants were asked to do four different
types of curl–up exercises. These exercises were labeled task A,B,C, and D. Task A consisted of... Show more content on Helpwriting.net ...
In task B, the rectus abdominus muscle activity doubled and the external oblique increased times four. The internal oblique muscle was more active
than the external oblique in task C and D than it was in task B. This is because of the potential for rolling off the ball which caused a co–contraction
of the rectus abdominus and the external oblique muscles. When all of these muscles contracted, this helped to provide stability to the body.
Author's Conclusions
The authors concluded that when performing a curl–up on a labile surface, the muscle activity amplitude and coactivation of these muscles changes.
Coactivation of these muscles helped to stabilize the spine and the body. They recommend that future studies should be done that will include
participants with spinal issues, and a wider range of ages. They also suggest to expand the experiment to test the position when in motion.
Reviewer's Recommendations
This study was needed because it is important to know if the curl–up exercise on labile surfaces is more productive than on flat surfaces. Also because
this study was performed on healthy individuals, there does need to be a further study on individuals with disabilities, back injuries, etc. It would also
be interesting to see how the individual performs the curl–up once fatigue set

Yellow River Piano Concerto
The Yellow River Piano Concerto Xian Xinghai * Xian was born in 1905 in Pungu in China. * He joined the communist party in 1938 where he
composed the Yellow River Cantata. * The Yellow River was considered by the Chinese as the cradle of China's civilisation and its sorrow. * The
cantata was an eight movement work for chorus orchestra and soloists with narration in between. Yellow River Cantata * The cantata aimed to
express the troubles of the people who lived on the banks of the Yellow River who had to battle against flooding and the Japanese invaders. * The
piece was composed in four days. * It made use of traditional folk melodies as well as using western techniques (Xian studied abroad). * Each... Show
| D| 55–59| 52 crotchet beats per minute, piu moso, modulates to G minor (relative minor)| E| 60–66| 69 crotchet beats per minute, B flat major, rit.|
Coda| 67–73| 88 crotchet beats per minute, rit–pause on final note, B flat major. | Characteristics of Movement 2 * The opening of 'March of the
Volunteer' is used twice by horn 1/trumpet 1 in bars 61–64. 'March of the Volunteers' is the Chinese national anthem and was a revolutionary
anti–Japanese song. * Mostly Composed in B flat major. * Apart from the restatement of the opening 16 bar melody, only tiny snatches of material are
subsequently repeated. * The phrase structure is unusual with changes between 3/4 and 4/4 apart from bars 1–9 and 17–25. There is little use of
conventional question and answer phrases. * The orchestra mostly accompanies the piano which plays a figuration based on the underlying harmony. *
There are textures for orchestra alone at bars 1–15 and 67–73 and for the piano solo at bars 17–23 and 27–30. * The movement is slow and is lyrical in
nature with ballad like melodies. * There is the use of a B flat pentatonic scale (B flat, C, D, F and G). * The movement was heavily influenced by the
romantic period (Tchaikovsky and Rachmaninoff) * The movement matches the second movement of the Yellow River Cantata and depicts the image
of travelling down the river. Movement 3 Analysis Section| Bar

Analysis of Haydn's String Quartet: Op. 76, No. 4 Essay...
Analysis of Haydn's String Quartet: Op. 76, No. 4, in B–flat Major "Sunrise"
Haydn composed his Op. 74 quartets in the later years of his life between 1796 and 1797 and it was the last of his completed string quartets. The set of
quartets were dedicated to the Hungarian Count Joseph ErdГ¶dy and were published in 1799. It was said that this selection of quartets was one of his
"most ambitious chamber works" with his attempt of "emphasizing thematic continuity, seamlessly and continually passing motifs from one instrument
to another" 1. The fourth of these quartets is nicknamed "Sunrise". This is due to the exquisite rising theme heard in the first violin part at the beginning
of the first movement from bar one to bar four as seen in Figure ... Show more content on Helpwriting.net ...
Instead of the dotted crotchet followed by a quaver phrase, it has now been modified to become a quaver then a crotchet followed by a quaver as seen
in Figure 4. Haydn most likely did this to emphasise the
forzando he wrote on the first quaver of the bar. Bar sixty shows the introduction of one last new motif in the exposition. It is first heard in all the
parts halfway through bar sixty and is made up of four quavers with a quaver rest between each of the notes. Sometimes this motif starts on the beat or
off the beat and in some occasions during this movement both the on the beat and off the beat motifs are played together creating the sense that
continuous quavers are being played, this first occurs at bar sixty, another example of when this occurs can be seen later in the development. This
concludes all of the motifs that appear in the exposition. The development starts very similarly to the exposition with the first violin part once again
playing the sunrise theme with the only differences being the distribution of the motifs 'x' and 'y' (The opening sunrise theme of the exposition was in
the order of motif 'y–x–x' then 'x–x–y' compared to the opening
sunrise theme of the development which is 'y–y–x' then 'x–x–x–x') and the fact the second melodic phrase of the sunrise theme is one bar longer. The
development then continues again similarly to

Carter Burwell 's Impressionist Pieces
Carter Burwell:
In order to compare and contrast Claude Debussy's impressionist work from the 1800's to 20th Century impressionist music, one can analyse composer
Carter Burwell's impressionist pieces.
Carter Burwell was born in New York City on November 18, 1955. He graduated from King School in Stamford, Connecticut and then studied
animation and at Harvard College. In 1977, Burwell graduated from Harvard and became a teaching assistant in the Harvard Electronic Music
Studio and a cartoonist for the Harvard Lampoon. He began to build up a career as a composer of film soundtracks, creating a long working
relationship with film makers the Coen Brothers and scoring every film they have created. Burwell also composed film music for all of ... Show more
content on Helpwriting.net ...
Generally, the first and third sections (A) in ternary form are identically, however, it is common that compared to the first section, the third section will
contain further ornamentation. The second section (B), tends to contrast dramatically with the first and third sections. Clair de Lune is also extended
by a coda which has been composed using material originating from the second section (B). The piece mostly continues in the tonic, modulating only in
bars 37 – 42. This means that the sections are harmonically closed. The sections are as follows:
First section (A): Bar 1 – 26
Second Section (B): Bar 27 – 50
Third Section (A) + Coda: Bars 51 – 72
First Section Analysis:
Clair de Lune is in D flat major and begins with a tonic chord, excluding the tonic note. It is introduced later on, where the median of the chord (F
natural) is doubled. The right hand playing chord I is supported by the left hand for the first four opening bars. This creates a chord–a–bar harmonic
rhythm. During these opening bars, the left hand slowly starts to descend while the diatonic theme is played in the right hand. Debussy uses
unconventional intervals, for example, G flat and A (augmented second) in the first couple of bars. In bar 9, the introduction theme is repeated, this
time including some changes, such as harmonic substitutions and decorations. The F and A flat interval is then reintroduced with ascending octaves.
This phrase is then finished in bar 15,

A tribute to Patsy Cline
A tribute to Patsy Cline with Mandy Barnett and the Nashville Symphony On November fourteenth at eight o'clock p.m. I attended a Patsy Cline
tribute concert featuring Mandy Barnett and the Nashville Symphony with my grandparents. On that particular Friday night, it had been raining for
most of the day. My grandparents came and picked me up at five o'clock in hopes of going to a nice dinner before the show. Once we got on the
road, it was clear that our itinerary was not going to work out as we had planned it to. There was wreck after wreck, leaving most of the interstates
backed up and some closed until late that night. We had to turn around and drive through Mount Juliet to make it to the concert right on time. None of
us had ever been... Show more content on Helpwriting.net ...
The partricular piece is very upbeat and outgoing. As the music continues the song continues to grow faster resulting in a vibrant folk dance. The
Nashville symphony did a great job performing this piece and portraying the light–heartedness and fun that Enesco intended. The next work that the
Nashville symphony performed was George Gershwin's, "Rhapsody in Blue." This rhapsody combines classical music with some jazz infuences. The
score for this calls for one flute, one oboe, one clarinet in E–flat, one clarinet in B– flat, one bass clarinet in B–flat, one heckelphone, one sporanino
saxaphone in E–flat, one soprano saxaphone in B–flat, one alto saxaphone in E–flat, one tenor saxaphone in B–flat, and one baratone saxaphone in
E–flat for the woodwins. For the brass, it called for two horns, two trumpets, two flugelhorns,euphonium, three trombones, and one tuba. On
percussion it called for, one set of drums, one timpani set, and a trap set. Keyboards called for, two painos, one celesta, and one accordian. Finally,
on strings, a banjo, violins, and string basses were played. Rhapsody in Blue is considered one of the top one hundred most influencial songs. The
song paints a picture of a busy, fast paced city, which many people can relate to in today's society. Still today Rhapsody in Blue is one of the top
twenty five most played songs. George Gershwin created a timeless piece that will be performed around the world for many years to come. The

Analysis Of The Song ' My Beloved Is Mine '
In Canticle I, composed by Benjamin Britten, the song has been praised for its beautiful composition to its seventeenth–century poem by Francis
Quarles, entitled "My beloved is mine". Britten has written this song for a "high voice", with no specific type of a voice. Thus, this song could be
sung by a tenor or a mezzo, although often times by a tenor. The poem, derived from the Song of Solomon, has seven stanzas in all. However, Britten
has omitted the fourth stanza and combined the first and the second, and the last two stanzas to make a four–movement song of this poem. This poem
is unique in a sense that at the end of each stanza (with the exception of one), this poem concludes with "So I my best–beloved's am; so he is mine."
Although the poem is said to be adapted from the Song of Solomon and thus the bible, Britten chose this specific poem to represent his personal
relationship with the pianist who accompanied this very song, Peter Pears. In this paper, I will be looking at each movement carefully and how the
text relates to the music Britten has composed. This song is clearly divided into four movements, along with the poem. The first movement is entitled
Andante alla barcarola, and by definition, is a folk song sung by Venetian gondoliers. This movement contains the first two stanzas of the poem, and
right away, we see the symbolism within the music by Britten. This first stanza specifically discusses of the metaphor of two streams (people) coming
together to be one.

Krystian Zimerman Piano Critique
Xuanhe Zhao Dr. David Cartledge& Tony Zhou MUS–P110 October 13, 2016 Piano Critique Polish pianist Krystian Zimerman, known for bringing
flamboyance and talent into pianistic performances, performed a recital dubbed Chopin & Schubert. In this 1987 recording, Krystian Zimerman
performs a couple of songs by Chopin and Schubert. The recording lasted one hour and forty–one minutes where Krystian Zimerman demonstrated his
superb technique and refined sensibility to varies uses. The track list begins with Scherzo No.2 in B flat minor, Op.31, then Nocturne in F sharp
major, Op.15, followed by Ballade No.1 in G minor, Op.23. Frederick Chopin composed all these tracks, and each composition took different
duration with the first track Scherzo No.2 in B flat minor, Op.31, taking the longest time, around ten minutes. Other tracks also composed by
Frederick Chopin captured in the recording include Ballade No.2 in F, Op.38 6, Ballade No.3 in A flat, Op.47, Ballade No.4 in F minor, Op.52,
Fantaisie in F minor, Op.49 and Barcarolle in F Sharp, Op.60 in that order. Eventually, Krystian Zimerman had played eight pieces of songs composed
by Frederick Chopin. In addition, the recording has several compositions by Franz Schubert. Precisely, he performed four... Show more content on
Helpwriting.net ...
In the recording, Zimerman being an advanced pianist knew how to play with rhythmic magical tricks, which not only involved counting the accents in
each bar but also ensuring the bars developed the coherent aspect of rhythm. As a result, music would stand out from the background musical materials
because it was much louder and stronger. In other instances, Zimerman played with the basic keystrokes quite well by alternating the down stroke, the
hold, and the lift based on the movement he was playing. For instance, he ensured that the down stroke was always fast regardless of whether the
music was slow or

Poster Essay : How To Make A Poster
To make the poster I used a display board, cardboard paper, holographic letters, printer, google drawings, scissors, and double sided tape. First I put
the letters onto cardboard paper squares and taped them to the top of the display board. Next I went on the the drawing program google drawings. In
this program I created everything. From the treble clefs to the simple line I made everything using google drawings. After I created everything I
printed it off and cut it out. Next I cut out pieces of colorful cardboard paper and taped them to the printed paper. Finally I arranged them on the poster
board like how I wanted and taped them down. Now I will tell you about the information on the poster. In order for you to understand anything... Show
It shows you how many beats are in a measure and which note gets the beat. How to read a time signature is pretty easy. The top number shows
how many beats are in the measure and the bottom number shows what note gets the beat. So that means that the one on the poster is saying that
there are 6 beats per measure and the eighth note gets the beat. Now that you know about the time signature I will tell you about the 3 basic notes.
First is the whole note. The whole note when played in 4/4 time has 4 beats and takes up the whole measure. The whole note is equal to 2 half
notes. A half note in 4/4 time has 2 beats. Next one whole note, and 2 half notes equal 4 quarter notes. A quarter note when played in 4/4 time
equals 1 beat. Although it isn't on the poster this continues. Finally to understand basic music you need to know about key signatures. A key
signature tells you to maintain those sharps or flats throughout the music, unless there's a natural symbol to override it. The key signatures on the
poster are just a few examples. First I will tell you about the one with sharps on it. There is the G Major in this major there is only one sharp the F.
Next there is the D Major the sharps are the F and C. Finally the last key signature with sharps is the A Major. It has the F, C, and G sharps. Next is
the key signature with flats on it. There is the F Major in this major there is only one flat the B. Next there is the Bb Major the flats are the B and E.

The Song 'This Jesus Must Die'
Musicals are a living form of art. A musical combines dance, dialogue, characters, music, costumes and vocals in order to represent a moral issue.
Some appear at the forefront of the plot while others are presented alongside the storyline. A fitting example of a musical, is Jesus Christ Superstar
composed by Andrew Lloyd Webber. This musical is perfect as it is entirely sung, has amazing rockmusic and has themes and moral issues carefully
intertwine throughout the plot. However, the largest moral issue or dilemma is how popularity can negatively and positively affect the main character
Jesus.
The song "This Jesus must Die" is an excellent example of the negative side of popularity, as it shows the Romans planning to kill Jesus before he
surpasses them in power. The song begins with a moderate tempo of 72bpm in a time signature of 4/4. However, the use of semibreves and the organ
slows the perceived tempo, giving the score a ghostly and ominous feel (seen in bars 1–13 and figure 1 and 2). This ominous feel is throughout these
bars, as it represents the tension between Jesus's power and the Roman authority. This also clearly sets up the roman's character, as a dominating evil
force. Furthermore, the use dissonant harmonies in the key of D minor such as the notes D, ... Show more content on Helpwriting.net ...
piano. Exhibiting more jazzy fills seen in bar 35, 37 and 39 (Figure 10) by crescendoing in dynamics and playing the G minor scale. Additionally, this
section uses mostly major chords (F major and E flat 7th) to add to the exciting and joyful tone. Although, the bass and drums support the vocalist by
emphasising key words like "made it, filth, raped and terrorised," (see bars 35–40 Figure 11). This symbolises, the completeness of Jesus' fandom as
there are little rests in this section and Simon's words are emphasised adding more meaning to his lyrics or like they are being

Bronx Arts Ensemble: Chamber Music Concert Review
For my first concert report of this semester, I attended the Chamber Music Concert put on by the Bronx Arts Ensemble. The performance consisted
of three chamber pieces from the classical and early romantic periods; "String Trio in B Flat Major, D. 471" by Franz Schubert, "Quartet in E Flat
Major, Op. 2 No. 1" by Bernhard Henrik Crusell, and "Divertimento in E Flat Major, K. 563" byWolfgang Amadeus Mozart. Each song was played in
true historic fashion (although we only heard four of the six movements from Mozart's composition), and it was very stimulating to be able to see the
music we have been listening to in class being played live. The first song that we listened to, composed by Schubert in the early renaissance period,
was very light and airy. However, certain sections within the piece did have aspects of dissonance, creating a dramatic contrast to the otherwise playful
melody. In addition, I noticed that the composition was clearly in sonata form, with four evident themes (one of them in cadence) repeated and
developed quite consistently. Even though I did ... Show more content on Helpwriting.net ...
2 No. 1" by Crusell was my personal favorite of the concert. Bernhard Crusell was an early romantic composer and notable virtuoso of the clarinet;
he is known as one of the first to incorporate the instrument into his music. Moreover, he was especially inspired by Mozart, and this inspiration is
heavily reflected within his compositions. This particular piece was played for us by a quartet consisting of a cello, viola, violin, and (of course!) a
clarinet. To my ears, it almost seemed that the clarinet was somewhat of a leader for the other instruments, providing a springy and peaceful contrast to
the lower, fast–paced, and seemingly darker melodies of the string instruments. This contrast was perhaps one of the most enjoyable parts of the
composition for me; it made the music feel suspenseful, fearful, and somewhat flirtatious all at the same

Summary Of ' Beethoven 's ' The Little Pathetique '
Beethoven began the other two sonatas comprising the Op. 10 group in 1796, but may have started this particular sonata toward the end of 1795. All
three of the sonatas of his Opus 10, it is dedicated to Anna Margarete von Browne, the wife of one of Beethoven 's patrons, a Russian diplomat in
Vienna. The work has been nicknamed 'the little pathetiquГ© ', as it shares many traits with the most known 8th sonata. Allegro molto e con brio, the
first movement of the sonata, opens the exposition (mm.1–105) with a very lively and energetic phrase that builds tension by using ascending notes
from the tonic chord. Although the phrase is important by setting the tone and energy for the rest of first movement, but it sets up a certain motive that
can be seen in all three movements. This motive consists of a short note value followed by a longer note value (see example 1). The principal theme
(mm.1–30) is filled with different variations of the motive such as in measures 13–15 where the motive is used in the left hand and descends compared
to the previous ascension. Following the end of the principal theme, a transition (mm.32–55) occurs which modulates to F Minor and then modulates
again to set up for the second theme (mm.56–63) in E–flat Major. At the end of the transition (mm.49–52), another variation of the short long–short can
be seen in a retroversion of the format (see example 2) which is then followed by the motive filled in with neighboring tones between the down beats to

Popular Solo Piano Pieces Of The Classical Era
Halle Fields
Professor Swanson
Understanding Music
21 October 2015
Popular Solo Piano Pieces Any intermediate pianist will recognize that there are popular solo pieces that they, along with almost every other pianist,
will perform at some point during their career. This theme, entitled "Popular Solo Piano Pieces", encompasses a collection of ten piano solos that are
performed by many developing pianists. While these pieces are popular among musicians today, it can be noted that the majority of these pieces are
popular among the general public and can be found in movies, television, and many other varieties of mainstream media. Among these pieces it is
apparent that the development of sonata form during the Classical Era was revolutionary to the writing of music and there is a trend that in the
majority of these popular solo piano pieces follow sonata form.
Beethoven's PathГ©tique Sonata op. 13 no. 8 in c minor. First movement: GraveвЂЁhttps://www.youtube.com/watch?v=i60LrIq3cr8вЂЁBeethoven,
being a bridge between the Classical and Romantic eras, wrote many pieces influenced by both times. The PathГ©tique Sonata also follows a typical
sonata form with 3 movements, the first movement being the most popular to be performed as a solo. The first movement, Grave, also follows sonata
form with an introductory theme before introducing three main themes in c minor, e–flat minor, and E–flat Major, respectively. The development
contains variations on all three themes and the introduction

Kids Music Procedure: Kids Music
Kids Music Procedure
Drums – the drums help keep the beat of the song and to make beat 2 and 4 emphasised.
Bass Guitar– the bass guitar is used as a backing track that highlights the acoustic and the grand piano during the chorus and creates an interesting
transition from chord to chord on the piano and guitar.
Acoustic Guitar– the acoustic guitar during the verse is used to make the verse fuller and cheerful and creates unique harmony with the grand piano,
following a simple and repetitive cord progression. During the chorus, the acoustic guitar has a similar function in the verse but, is more dominant than
any other instrument and joins with the Grand piano to form a funky, jumpy and exciting sequence with a defined beat.
Grand piano–

Nationality And Achievements Of Ludwig Van Beethoven
Beethoven is the most important person in the transformation between the Classic and Romantic eras in Western art Music. iii. Nationality and
Background Ludwig van Beethoven was born in the 1770's in Bonn. He was a German composer and pianist but also an innovator, carrying forward
scope of sonata, symphony, concerto and quartet. He had combined the vocals and instrument in new way.Ludwig van Beethoven was born in a
musician's family. His grandfather, Lodewijk van Beethoven who is a musician from Mechelen in the Southern Netherlands, now is a part of
Belgium. When Lodewijk was 20 years old, he moved to Bonn, Germany. He was a bass singer at the court of the Elector of Cologne, finally he
became a music director, in German word it named "Kapellmeister". Ludwig van Beethoven's father, Johann van Beethoven, he worked as a tenor in
the same musical establishment with Lodewijk and gave ... Show more content on Helpwriting.net ...
He and the two younger brothers survived infancy, Ludwig was the second–born child. Beethoven's father was his first music teacher. Apart from that,
Beethoven had other local teachers: the court organist Gilles van den Eeden, a family friend, Tobias Friedrich Pfeiffer who taught Beethoven
piano, and Beethoven's relative, Franz Rovantini who instructed Beethoven in playing violin and viola. Beethoven was very talent in musical at
his young age. His father, Johann aware that and tried to exploit his son, Ludwig as a child a child prodigy. When Beethoven was six, he was on
the posters for Beethoven's first public performance billed as a ''Little Son of Six Years" in March 1778. In 1787, Beethoven was sent to Vienna,
Europe's capital of culture and music, apparently he hope to study with Mozart. His mother was died because of ill, his father was lapsed deeper into
alcoholism. Therefore, Beethoven forced to take the responsibility for taking care of his two younger brothers, Caspar Anton Carl and Nikolaus

A Classical Concert
Concert Attendance Report It was my first time attending a classical musical concert. I was so excited when I attending this concert. In my mind, the
concert is always boring and around solemn person. But when I came in there are not that exactly that I was thought. People in here with daily outfit
and chat with people around them. The concert is begining at 7:00 p.m. When the music sounded, the audience quiet down. I thought I will be sitting
there and falling alseep, but I'm not, I was immersed in this music. I did a little work before I went to this concert. It had five pieces were performed
and they all were composed by Johannes Brahms. The first be played was Clarinet Trio in A minor, Op. 114. This piece was the composer's... Show
It's fast at beginning and then turn to soft but it's turn back allegro in the end. The whole piece is melancholy but romantic. The second piece Violin
Sonata in D minor, Op. 108 the first movement is allegro also as a cantilena. The second movement is adagio that is gentle, the third movement piano
point the main theme. The third piece Intermezzo in E–flat major for Piano, Op. 117. The main rhythm is persistent. The style is clam, slow an soft.
The forth pieces is Rhapsody in E–flat major for Piano, Op. 119. The first movement's rhythm is long–short–short, the cadence bar is short–short–long.
The second part is quite at fist, louder at next and comes quite again. This piece of style is romantic. The last one is Clarinet Quintet in b minor, OP.
115. It's romantic,too. Clarinet Quintet a total of four movements, the first movement relative to the most complex, the most instense emontional
expression. It's began with the violin playing. Then the second movement introduced by the clarinet, the mood comes depresssed again as the first
movment. It's slower paced and gentle. The third movement begins treacle, but each of his last melody often attributed to serious and contemplative.
Fourth movement is characterized by the varuation. It's has same sweet melody which resembles the second movement. At the end is with a loud chord
whcih ultimately fades away. The instrumentation of the orchestra is violin, viola, cello and clarinet. I enjoyed this concert. Not only it's my first time
went to a classical music concert, but also the music of this concert that the musicians played were very well. When the movement was change my
mood was different. I think it's totally different feel if you attending a live concert or just watch at home. The atmosphere I was realy enjoyed in that
time at the

Analysis Of Jean Sibelius's 7th Symphony
The music of Jean Sibelius during the late–Romantic era is highly regarded as the most well–known music to come out of Finland. By the
late–Romantic period, other nationalities had established their own individual takes on classical music; Sibelius was able to give Finland a sense
of identity in music, as the country was just beginning to create its own identity in the wake of liberation from Russia. As history's most
prominent Finnish composer, Jean Sibelius had a tragic collapse of his career as a composer. While Sibelius passed away in 1957, the final period
of productivity that the composer displayed was in the 1920's and briefly into the 1930's. Jean Sibelius struggled heavily with alcoholism as he
became more and more recognized in the musical world and used alcohol to cope with the anxiety that came with conducting premieres of his works,
which he began to do more frequently as time progressed (www.sibelius.fi). Regarding his output in the 1920's, many of his works were for solo piano
and his only orchestral works were the tone poem Tapiola and the 6th and 7th symphonies. The tone poem actually ended up being Sibelius' final
complete composition (Service). It is also worth noting that his 6th and 7th symphonies are quite different in several different ways; an examination of
the 7th symphony regarding form and analysis is to follow. A very broad exploration of the 7th symphony reveals several unique characteristics that
have rarely been seen in orchestral

Chopin Prelude No 15 Essay
Chopin's Prelude No. 15 for Solo Piano Hey guys, welcome to my blog! Today, I'll be sharing with you guys one of my favourite pieces by romantic
composer, Chopin, Prelude No 15, or more commonly known as Raindrop. Frederic Chopin's Prelude No 15, also known as Raindrop, is one of
Chopin's 24 preludes. His preludes were written between 1835 and 1839 and were published in 1839. Chopin's preludes were arranged in a circle
of fifths, with each major key being followed by its relative minor. In comparison, Bach's collection of fugues and preludes, known as 'The Well
Tempered Clavier' was arranged according to keys, each one a semitone higher. This is why some believe Chopin intended the preludes to be played in
a single performance as a continuous... Show more content on Helpwriting.net ...
The rubato is a common device used by both romantic and classical composers and is used for emotional expression. The rubato is played
spontaneously and cannot be calculated. This again highlights the individualism and freedom given to performers in the romantic era. The piece is
slow and is sustained. The music slows down in bar 81. The piece slows down with a ritenuto in bar 88 and ends with a

The Erlking: Through Composed Music To Sing Through...
Schubert composed the through composed music for the Erlking. The poem has four characters that sing in different registers and keys. He personifies
each character with their different entrances. By using lower registers for the father it shows the human trait of concern. When the son enters the vocal
range is very high and uses the flat 9 chord. This is to show the human trait of fear. The Erlking enters and themusic sounds soothing and at first it is in
the low to middle register, then middle to high once he has captured the boy. By using different key changes Schubert expresses these different human
traits in the story.
The first time the father enters is at measure 36 of the lied. When we first hear the father, he sings in a low reregister in the key of G minor this is
to indicate his older age. While he is singing this is meant to show his concern for his son. The next time the father enters in at measure 51 in the B
flat. This is also where the accompaniment is all in bass clef. The next entrance of the father is in measure 81 where we see him sing in the keys of B
minor and G major. The father's voice is in the lower register in both keys. The final entrance of the father is at... Show more content on Helpwriting.net
...
The son, singing in the key of C minor enters in measure 41 and he sings in a high register of the key. This is to show the son's age and show that
the son is afraid of the Erlking. The next entry we see the son singing in the key of g minor in measure 72. He sings on the V7 flat 9 chord to show
that his fear is growing. The next entrance, we hear from the son is at measure 98. This is where we see the return of the triplet figure in the
accompaniment. The son is singing in A minor and we also hear a chromatic accompaniment to establish a sense of tension. Measure 124 is where the
final entry of the son comes in. He is singing on the V7 flat 9 chord again, but this time he is singing in B flat

Frederic Chopin Research Paper
The Musical Life of Frederic Francois Chopin
When I think of Frederic Chopin, light–handed piano playing and distinctive compositions come to mind. Before being well–known for those
characteristics, Chopin wowed audiences including royalty, at the tender age of seven with his compositions, and one year later with his prodigally piano
playing. Chopin was deemed a child prodigy, and was often compared to Mozart. Born Frederic Francois Chopin on February 22,1810 near Warsaw,
Poland, at the age of five Chopin started his musical journey with the piano. He was taught by his older sister Ludwika. However, it was apparent that
Chopin excelled expeditiously, and needed professional lessons to continue his progress. He began to study with Wojciech... Show more content on
Helpwriting.net ...
55 Nocturnes and the Op. 56 Mazurkas. The major characteristic of these compositions are as follows, COMPLEX! As his relationship with George
Sand degenerated, Chopin became quite ill. He later left Paris in for a small tour in April 1848. He went to England and Scotland. He returned to
Paris in November not only was he ill, but exhausted also. By 1849, most of his magnum opuses were completed. He continued to work on mazurkas
and nocturnes. His last work was mazurka in F minor. In the 1840's many women and young girls alike yearned to be students of Chopin. Sadly, this
didn't last long because he died October 17th, 1989 of tuberculosis. I'm sure I am not alone in saying Chopin's music is full of heart–felt emotion.
Chopin is unique in the fact that he only wrote for the piano solely, or the piano along with other instruments. He has been called, "the only true great
composer for the piano". He wrote 200 works., 169 of them are just for piano. He took the genre of nocturnes and expanded them greatly by increasing
the melody. He was known for his tempo rubato, speeding up slightly or slowing down. His harmony and rhythm tactics surpassed his generation.
Chopin is

Form in Chopin Nocturne in D Flat Major
In Nocturne in D flat Major, Frederic Chopin (1810–1849) creates a complex work that consists of complicated harmonies and rhythmic motives. These
two components are interwoven to build elaborate themes which lead to a melodic design that Chopin is known for. The piece has multiple key
elements that combine to form this expressive work for piano, such as thematic growth. Various themes are introduced in the work and as Chopin
develops them, they are barely recognizable. Other important elements in the creation of the nocturne are register and pitch. Register provides support
for the harmonies which in turn serve as the foundation on which the piece is built.
Chopin begins his Nocturne in D Flat Major with a simple arpeggiated ... Show more content on Helpwriting.net ...
The first motive begins on beat 2 of the second measure. Motive I can be classified as a rhythmic motive, not a melodic one, because in terms of melody
it changes pitch each time it occurs but the rhythm largely remains the same. The first time it occurs, it is introduced as part of a monophonic soprano
texture but when it occurs next at measure ten, it switches to a homophonic texture consisting of parallel thirds. Next, Chopin varies the rhythm to
evolve the motive by adding a sixteenth note triplet on beat three, as in measure 10 or ???. This motive helps signify the return of the main theme of
the piece, such as at measures twenty six and forty six. Motive I is an important aspect of the piece in that is present in both themes A and B as well
as in every section of the form, yet it is different in each section so that the listener can delineate between the phrases.
Register plays a very important role in the piece. Chopin begins the melody on F5 which functions as the third of the tonic triad. This pitch is
important throughout the piece because the primary melodic register is between D flat 5 and F5. The primary melodic register is supported by a
primary bass register of D flat 3 to D flat 4. He only varies from that register when he wishes to provide extra support for the tonic chord, as
demonstrated in m. 1. To ensure that the tonalities in the bass voice project from within the other harmonies, he increases the

Labile Surfacess
Purpose of the Research
The purpose of this research study was to name the degree of modulating influence of the type of surface used–stabile or labile–on the mechanics of the
abdominal wall. Recent interest in stability training for lower back injuries has brought attention the utilization of labile, or movable, surfaces which
challenge the motor control system. Studies have shown that the abdominal muscles play an extremely important role in maintaining optimal spine
stability. The study was enacted primarily because there is very little known about the modulating effects of these types of surfaces onmuscle activity.
In order for physical therapists to incorporate rehabilitative exercises of this nature into patient treatment plans, it is clinically necessary for the effects
of using labile surfaces in stability exercises to be fully understood.
Subjects and Methods
The subjects involved in this research study included eight men who participated voluntarily. The mean age of the population was 23.3 years with a
standard deviation of 4.3, the mean height was 177.6 centimeters with a standard deviation of 3.4, and the ... Show more content on Helpwriting.net ...
On the other hand, the other three exercises that were performed on labile surfaces roughly doubled abdominal muscle activity. Also, while doing the
curl–up over the gym ball with feet flat (like in Task B) doubled rectus abdominis muscle activity, activity in the external oblique muscles nearly
quadrupled. In each of the four exercises, it was concluded that the rectus abdominis muscle was much more active than the oblique muscles. Another
major finding, relating to the question of whether people are able to preferentially recruit upper versus lower portions of the rectus abdominis muscle,
showed that the upper region was most active in Task D, and the lower region was most active in Task

How Did Classical Music Develop Throughout The 19th And...
Introduction
The music of the 19th and 20th centuries is classified as late Classical and Romantic periods. During this time frame, composers such as Beethoven,
Brahms, Chopin, Debussy, Mendelssohn, and Schumann thrived. Throughout the 1800s, music was extremely diverse in composition and
performance, and much of the music centered on people's religious preferences and nationality.
In the 1800s, the Romantic Era helped introduce bold and more dissonant pieces, which were longer and more complex than previous classical music.
This boldness in music creation helped listeners identify with each composer's unique, individual style and decipher between musicians during
performances. Musical ideas such as homophony, public concerts, and orchestras expanded during the early 1800s. Homophony, referencing clear
melody and accompaniment helped musicians and ... Show more content on Helpwriting.net ...
Introduced by the cellos in the fifth bar of the melody, a C# is played to create harmonic tension. A tritone is formed between the C# of the cellos and
the repetition of G by the violins. During the development section, the violins play a high F natural against an E natural, which together showcase the
fury behind the composer's intentions of this piece as a commemoration for the lost lives of war heroes.
Musical Textures:
Allegro con brio has two main themes, with the first played by a multitude of instruments including flutes, oboes, clarinets, bassoons, horns, and
multiple strings. The second movement helps calmly transition the piece to the development section. In this third section, Beethoven introduces a third
theme, thus breaking the normal ideology with classical music that the development section recycles material previously played in the movement.
Therefore, this first movement of Symphony No. 3 has the most diverse textural material.

Cesar Franck Writing Style
CГ©sar Franck was one of the most sought–after and remarkable composers of the 19th century. Born in LiГЁge in 1822, Franck received his
musical instruction at the age of eight at LiГЁge Conservatoire. In 1834, he gave the first public concert in LiГЁge. After moving to Paris in 1835,
Frank entered the Conservatoire where he studied counterpoint with Leborne and piano with Zimmermann. It was during his student years at the Paris
Conservatoire which Franck composed his first serious works, three trios for piano, violin and cello, that foreshadows his late style music, concluding
the early use of cyclic form. вЂЁIn 1858, Franck was appointed as an organist at Sainte–Clotilde, which leads to his combinations of organ techniques
reflected in his late... Show more content on Helpwriting.net ...
The chorale fulfilled the lack of 'cantabile' and sustained melody, the chorale served as the relieve from the rush of the Prelude and lead to the
Fugue.вЂЁFranck gave to the Prelude Chorale et Fugue the sense of being grounded in baroque practice. His inspirations were Bach, Beethoven's
sonatas, Schumann's Symphonic Etudes, and Liszt's Weinen Klagen variations. There is a close reflection of Wagner's Parsifal in the melody of the
chorale. The Prelude, Chorale, and Fugue, "in its basic ideas, as well as their technical expression for the instrument...wielded a powerful influence
over the rising generation of composers in offering them a kind of ideal to follow, a complete expression of the ideals that were opposed
fundamentally to the superficial music then in popular favour." вЂЁIn d'Indy's biography of his teacher, he tells us of Franck's sudden interest in the
piano and how he came to write the Prelude, Chorale, and Fugue:вЂЁ"CГ©sar Franck, struck by the lack of serious works in this style, set to work with
a youthful fervour which belied his sixty years to try if he could not adapt the old aesthetic forms to the new technique of the piano, a problem which
could only be solved by some considerable

Essay about Essential Tool for Musicians: The Circle of...
The circle of 4th's and 5th's,what is it well it is a diagram which is an essential tool that musicians use. It is one of the most known and most important
thing used in music today. The circle of 4th's and 5th's can be used to find lot's of things in music like chord substitution or determining the best
transition. And other things too but the circle also make some stuff much easier. The circe is used by many famous musicians,and even people who
aren't musicians but just like to play music. The circle is an essential in music without it we probably wouldn't have some of the music that we have
today. Who created it, you may be open to know that Pythagoras was the one invented the Circle of Fourths and Fifths. Pythagoras was... Show more
content on Helpwriting.net ...
From playing music like guitars and other instruments to writing music pieces. Another thing about the circle is there some people who call it
different things. Some people call it the Circle of Fourths and some call it the Circle of Fifths, which one is right, which one is wrong. Neither,
they're both right you can call it either, it the same thing.You can call it Fourths, Fifths you can even just call it the circle if you want. How do find
scales using the circle of 4ths and 5ths, well we find them by using the formula. which is (WWHWWWH), which means whole, whole, half, whole,
whole, whole, half. And after that you start on a key. From that key you will be following the formula. So it is pretty easy you are just following
some steps, and after you are done following all the steps you will have the answer, it super simple and super easy. Something else you might want
use while you are finding scales is a keyboard,like the one you see below. piano–keyboard.gif So if you want to find the key of G, you would use the
keyboard with the formula (WWHWWWH). And how you would do it would be, you go from the G to A, whole note, next would be A to B, whole
note. Next B to C ,half note, next would be C to D, whole not; after that D to E, whole note. And you would just keep following formula and do E to
F, whole

Analysis of BachВґs 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 Helpwriting.net ...
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

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

Mozart Overture Structure
The overture is played before the curtain opens to set the stage for the action and music to follow and helps the audience emotionally prepare for the
opera. This only became common well after Mozart's time, hence Mozart's use of the overture to set the scene and introduce prominent musical ideas
from the opera was refreshing during his time. The slow introduction to this overture contained three chords that are heard again in the opera at
significant points.
The form of the Overture is the sonata form structure: a first section called exposition that presents 2 themes; a middle development section where the
themes are varied and developed; and a final recapitulation section that re–states the main themes.
The overture is in the key (with key signature) of E flat major with three flats namely B, E and A flats. The key E flat major is thought of as the most
religious, most philosophical and most other–worldly key. This is evident among composers as Francesco Galeazzi(an Italian composer of the same
time as Mozart) identified E–flat major as "a heroic key, extremely majestic, grave and serious". The three flats in the key also follow the 'rule of three'
suggesting ties to Freemasonry. The overture begins with a brief adagio introduction featuring heavy, solemn chords. This draws a link to the Masonic
initiation ceremony which began with the candidate knocking three times at the door to ask admittance. The long, slow stately introduction creates the
grand image of Sarastro. It foreshadows and introduces the audience to the underlying serious nature of the opera.
The allegro that follows marks the start of the exposition section. It begins quietly and then builds in intensity, suggesting the playful and light–hearted
comedic aspects of the opera. Fugal techniques are applied. The fugue subject theme 1(in the key of E flat major) is first presented by the second
violins, starting on tonic E flat. The first violins repeat the subject but start on B flat, the dominant, which shows the influence of Renaissance period.
The subject is then played in the lower strings. A contrapuntal tapestry is weaved from these materials which undergo many variations. The flute leads
into the transition which is very homophonic and

Is The Mood Of The Song Here There And Everywhere By John...
"Yesterday." "Hey Jude." "Let It Be." Those are the songs that come to mind when thinking of Paul McCartney's masterpieces with The Beatles.
However, "Here, There and Everywhere," a beautiful love song from the album Revolver, seems to go rather unnoticed. But one listen is all it takes
to see why John Lennon called it one of his favorite songs of The Beatles. The song's seemingly simple tune and love lyrics hide subtle musical
complexities that help give it a classic sound that endures through time. "Here, There and Everywhere" has a fairly simple form: intro, verse, bridge,
verse, bridge, verse, outro. The form reflects the continual shifts in keys throughout the song from the opening key of G major, to the prevalent
"relative major to the parallel minor" key of B–flat major, to the instrumental use of the parallel g minor, and to the occasional relative e minor1. Paul
opens the song with an 'intro' section, something that not many other preceding Beatles songs possessed. This intro also commences the later key
changes by shifting from the original G major key, to the B–flat major key at the end of the two lines. The intro is followed by a series of verses and
bridges. The verses are generally in the key of G major, with short occasional... Show more content on Helpwriting.net ...
Because the song is in keys that are kind the ears and provides harmonies and melodies that yield a rich yet calming sound, just the melody alone can
withstand the test of time. The lyrics read like a simple love poem and love ballads hardly change throughout time. Listening to this during the 1960s
and listening to it now (purely musically, not influentially) will provide similar feelings of love and devotion. It really is no wonder why it is a
favorite among Paul McCartney, John Lennon, and George Martin. I'm sure I'm not the only who feels the need to listen to this masterpiece here, there,
and

The Piano Sonata Op.35 No.2, By Johann Sebastian Bach Essay
Macdonald believes in the individuality of the keys. Moreover, in the history of the keyboard music, the work developed by Johann Sebastian Bach
during the Baroque period entitled, The Well– Tempered Clavier, is harmonically and musically substantial since he uses a pedagogical way to state the
individuality of each key signature; he demonstrates a preference for sharps rather than flats. He chooses F sharp in both books of preludes and fugue.
In the second movement of the Piano Sonata Op.35 No.2, the Scherzo is written in the key of E flat minor. However, Chopin ends this movement in the
relative key with a G flat major chord. The key of G flat is closely related to the Key of B flat minor as the relative key of E flat minor, which is the
subdominant of B flat minor. Musical Analysis and Performance Chopin wrote three piano sonatas: Sonata Op. 4 No. 1 in C minor, Sonata Op. 35
No. 2 in B flat minor, and Sonata Op. 58 No. 3 in B minor. Scholars agree with the idea that Chopin had a sort of appreciation for minor keys in this
type of work. Also, these sonatas are examples of Chopin's interest in the older tradition of the large forms. Chopin demonstrated acceptance of the
traditional concepts of the sonata form. For instance, he uses double– bars and repeats marks at the close of the exposition. The Sonata Op.35, No. 2 in
B flat minor was composed in 1839 in France but, the third movement of this sonata was composed and played separately in 1837. This sonata

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