Penguin Ballet Analysis

Penguin Ballet Analysis
A composer depends entirely upon the nature of the film for all the clues needed to write a suitable score for a film. Brought into the production after a
certain amount of film has been shot, the films concept will dictate how the composer will write the music. Whether based on the story line, or
providing information by setting an atmospheric state, film music will always have different purposes between different films. Penguin Ballet by Nigel
Westlake was composed to focuses upon the graceful, almost ballet like movements of the penguins underwater. Whereas, Writings on the wall by Sam
Smith conveys ideas and messages which will be expressed throughout the film, especially through the use of lyrics. Although positioned within the
film to provide contrasting messages, both these songs use similar musical elements to support the piece, and its position with the film. The discussion
of this essay is that there are similarities between the musical elements that support the lyrics in a song and the action in a documentary. Through this,
we will discuss the musical element's of pitch, and timbre and texture.
Through the use of pitch, each piece was able to develop motifs to represent specific personalities on the screen. Nigel Westlake successful achieves this
within the Penguin Ballet. Mirroring the fluidity and beauty of the penguins beneath the polar ice caps, it could be stated that the guitar and the harp,
most commonly represent the penguins. Played with almost a
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The Physics and Science of the Violoncello Essay
The violoncello, or more commonly known as the cello, is often referred to as the tenor of the string family. The name 'violoncello' literally means
"little violone"– where 'one' means big and 'cello' means little. The violone was the lowest–pitched instrument of the Viol family. By the end of the 19th
century, the term "violincello" has been more or less replaced with "cello". The cello has four strings, tuned in relations of perfect 5ths. This fact is
derived from the phenomenon of the overtone series; a perfect fifth is the second overtone above the fundamental, and the first non–repetitious
overtone. Therefore, relations of perfect fifths are the strongest relations in the musical language, and are used for tuning as well as major ... Show more
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The cello is usually made of wood, although materials such as carbon fiber or aluminum may be used in place. Luis & Clark is a very cello
manufacturer that constructs carbon fiber cellos. They are suited for outdoor concerts and events because of its resistence and strength to temperature
and humidity. The wood that's used for construction includes spruce for the top, maple for the back, sides, and neck. The top and back parts of the
cello are usually hand–carved. The sides are formed by heating up the wood and bending them. The body of the cello has two wide bouts at the top
and bottom, and two C bouts at the middle. A bridge and two f–holes are in place below the middle part. The top and back parts of the cello has
purfling– a decorative border inlay. However, purfling is not just decoration; it is used to protect the instrument from cracks. Because of playing,
traveling, and/or the weather, the cello may form cracks around the rim, but the pufling helps the crack spreading further to the top or the back.
Above the top part of the cello is the neck, pegbox, and, the scroll. They are usually carved out of a single piece of maple. The fingerboard, which is
glued to the neck, is spread over the body. The nut is a raised piece of wood at the top of the fingerboard that keeps the strings in the correct spots and
distance. The pegbox has four tuning pegs, which have the four strings tied to it. The strings are tuned by tuning the pegs, so that the

"Crazy Face" Van Morrison, Music Review Essay
"Crazy Face" The song I chose to review is "Crazy Face" by Van Morrison on the album "His Band and the Street Choir". The tone color of this song
is upbeat and jazzy, not so much inspirational, but laid back and pleasant. The tempo is based around an 8th note signature, mostly displayed by the
Hi–hat in what I would classify as allegretto. The instruments involved in this song are; a piano, a standard drum set most likely a five piece with a
standard 2 toms maybe 3, bass drum, snare, ride symbol, and a two crash symbols, an acoustic guitar, a banjo, a ukulele, a mandolin, an electric base,
an organ, a saxophone, and last of all Van Morrison's drunken voice. The form of this song is extremely simple yet very interesting and not common...
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The bridge is a 45 second saxophone solo. The rest of the instruments play the same verse over and over in harmony, with cymbals and stressed
guitar chords on the accent between the verses. All of this is played underneath the saxophone which is practically singing its own improved song,
which varies from hitting high notes in the register to low arpeggios in the lower register. The saxophone plays call and response with itself, which
leads the listener to believe there are two saxophones, when in reality one saxophone is dueling with itself. During the bridge not only is the
saxophone emphasized, but the organ plays the bass line on higher octaves on the same dynamics as the saxophone, so the bridge focuses on the
polyphonic relationship between the sax and the organ. After the bridge a sporadic drum fill opens up for the first verse of the song (A) which is
repeated just as the first time but more emphasized, especially the vocals. After the verse the chorus follows, almost identical sounding to the first
chorus just with more emphasized vocals. The song then ends with an abrupt note, typical for jazzy

Personal Narrative-Freshman Ella
Freshman Ella. It's a scary thought, but for this story we have to go back to March of my freshman year at an event called Chamber Festival, which
is basically when you play in small groups instead of large orchestras. In our school orchestra I was second chair viola which, me only being a
freshman, was a very big deal. At least it was for me. Many of my other friends in orchestra already had their own instruments, and I felt like it was
time to get one of my own. So for months I begged my parents. I insisted that I wouldn't give up playing in a year or two, that I really would stick
with it long enough for the investment to make sense. Finally, in the beginning of 2015, they agreed to get me a viola. Now was the hard part, agreeing
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So first I went to Christian Eggerts. When I went there and asked for the viola they held for me, I was sorely disappointed. The viola they had, had
the exact same timbre as my school viola which, though not bad, wasn't what I was looking for. I was disappointed, so I decided to look at the other
music shop, called The Baroque Violin Shop. When I walked into the white walled room, the first thing I noticed was the three tables full of violins
and violas. I walked around for a while, before working up the courage to ask one of the workers if they had any 16 and ВЅ or 17 inch violas. They had
one, a 16 and ВЅ inch with a light finish, and slight striations on the wood. The strings are worn, and my fingers have grey lines indented on the
tips, after I've played for hours. The sides of the face are chipped from two years of wear and tear, for it goes everywhere I go. I have a pretty
indepth knowledge of what this viola looks like. Unlike most instrument owners, I haven't given this viola a name yet. I don't know why, I just haven't
found the right name yet. I have put so many hours into this viola, you think I would be able to think of a name, since every day I've played for at
least an

Double Bass Research Paper
The double bass is the largest and deepest sounding of the stringed instruments in the viol family, although scholars sometimes argue about its true
lineage. This instrument is prevalent in many genres like jazz, blue grass, and rock and roll. There is also a science behind its strings and the
melodious sound that they make. The history of the double bass goes back as early as 1493 when people started noting that there were viols that were
as big as humans. The first illustration of the instrument is found in 1516. Historians thought that it would be more important to find the earliest form
of tuning using either forths or third– fourth tuning. The term third– fourth tuning is named by Praetorius that was used for a six–string instrument ...
Many six–stringed instruments were lighter that later became the modern double bass. There were very few five–stringed basses in the 17th century.
Leopold Mozart had noted that there were some very intricate pieces for concertos, trios and solos that were made specifically for these less popular
pieces. These models consisted of notes like F1–A1–D–F#–B. In the early 1609, Adriano Banchieri made an early bass that had six strings
D1–G1–C–E–A–d, but in the next century, it was overpowered by a three stringed bass that contained either A1–D2–G2 or G1–D2–G2 and also had no
frets. This was on of the first symphony bass models that lasted up until the 1920s. At that time E1 was added and made it easier to play lower notes
instead of transposing them up an octave. The double bass with its four strings has a range of pitches. It is tuned in fourths so its basic strings are
E1–A1–D2–G2. Its pitches start as low as 41.2 Hz and go as high as 98 Hz. It gains these pitches by putting tension on the strings. The large strings
have a higher mass and stiffness that also help achieve this set of

Double Bass Drumming Research Paper
The evolution of drumming is quite an interesting story. Many occurrences have contributed to the changes the kit style of drumming. Traveling
through time the drum has become a major part of any modern day band. Beginning with double drumming, into the invention of the double bass
drumming, and ending with the invention of the modern drumstick. After the civil war, around the 1900's, marching drummers tried to figure of how
one person could play the whole percussion section. Double drumming allowed someone to do that; by having one player play both a bass drum beat
and snare drum beat. One popular rhythm that was used in double drumming was a four–in–a–bar bass drum, while doing a close roll on snare. By
1876, theater orchestras and dance bands had adopted the technique of drumming into their music. ... Show more content on Helpwriting.net ...
This technique changed the drum kit to have two bass drums instead of just the average one bass drum kit. Louie Bellson was the first drummer to
record a double bass drum part. The recording was the song, "Skin Deep" by the Duke Ellington Orchestra. Many drummers practiced double bass
drumming after Louie Bellson, making the technique popular. Double bass drumming opened the door to many different kinds of music.
Different forms of double bass drumming can be found in early rock or modern day metal. Today's modern day form of double bass drumming is the
use of a double bass pedal. I use double drumming when I preform drum solos and in my everyday playing. Making the use of a single bass drum
capable to make a double bass sound. Some of the legends of the double bass are Lars Ulrich, Neil Peart, and James "the Rev"

A Cry Of Players By William Gibson
A Cry of Players is written by William Gibson. The first production of the play took place on July 24, 1968 at the Berkshire Theatre Festival in
Stockbridge, Massachusetts. The Repertory Theatre of the Lincoln Center then presented the production on November 14, 1968 in New York City.
Both productions were directed by Gene Frankel. The songs and incidental music for A Cry of Players written by Peaslee was written for piano and
voice, but written instructions on the first page explain that the piano part is for rehearsals and also to give the guitarist an idea of the character of the
setting. Also the first song 'Player' Entrance Theme' can be "played by Trumpet, Piccolo, or both plus accompaniment of percussion and abass
instrument if available." The first theme can also be used as exit music at the end of the play for the players. The score includes the following
pieces: Player's Entrance Theme, IF I had been Hanged, Ney Nonny No, And Wilt Thou Leave Me Thus, 'Twas I That Paid For all Things, and The
Squire is Dire. The original music was composed by Peaslee for the Lincoln Center production of the play. Dramatic Play Service, Inc sold a five song
set for the play for thirteen dollars plus a ten dollar music royalty fee.
A Midsummer Night's Dream by William Shakespeare was first performed at the Stratford–upon–Avon Memorial Theatre by the Royal Shakespeare
Company. It was directed by Peter Brook with music by Peaslee, the actors, and Mendelssohn. The first performance was

The Apotheosis Of The Dance At The Allen Chapel
On Saturday, May 9th, the RIT Orchestra and Chamber Orchestra put on a performance titled the "Apotheosis of the Dance" at the Allen Chapel within
the Schmitt Interfaith Center. The performance began with the RIT Chamber Orchestra, featuring mostly stringed instruments, performing works of
Mozart, Bach, and Grainger. After a short intermission, the RITOrchestra entered and performed a piece composed by Beethoven. The majority of the
concert was conducted by Michael E. Ruhling, with the exception of a few pieces performed by the Chamber Orchestra that did not require a
conductor. The Orchestra consisted of string, woodwind, brass, and percussion sections, and the Chamber Orchestra only had a string section with a
flute soloist. The concert began immediately with the Chamber Orchestra's performance of Mozart's "Divertimento in D major", K. 136. This piece
consisted of the 3 movements, Allegro, Andante, and Presto, which follows the fast–slow–fast arrangement typical of the Classical era. Divertimento is
one of Mozart's "Salzburg" symphonies, which are symphonies performed by only string sections. After the performance of this piece, the conductor
commented on the 2nd violin's part, and drew the conclusion that Mozart must have saved that role for either himself or an enemy. The second piece
performed by the Chamber Orchestra was Bach's "Suite No. 2 in B minor", BWV 1067. This piece did not require a conductor, and also featured a
flute soloist, Maisa Peters. Their

The Violin Research Paper
Violin
The violin is the smallest of the string family. It also makes the highest sounds. Usually there are more violins in the orchestra than any other
instruments. Violins are divided into two groups: first and second. First often play the melody, while second violins change between harmony and
melody. The size of an ordinary violin is around 60 centimetres long. The violin is played by resting the violin between your chin and left shoulder (on
the chinrest). You hold the neck of the violin and press down on the strings to make the pitch higher or lower, while your other hand either plucks the
strings or uses the bow. Viola
The viola is the bigger version of the violin. It can easily be mistaken for a violin but the viola is larger, just

Concert Report : Jacqueline Pretorius
Concert Report – Jacqueline Pretorius I did attend the "Tosco Music Party" on January 30, 2016 at the Knight Theater in Charlotte, NC. The Tosco
Music Party originated from informal gatherings and is now a regular sight and popular attraction featuring several artists.
The first group to perform was the Moore Brothers Band. They are an Americana trio which consists of a mandolin, a guitar and a bass instrument. The
mandolin had a smooth, classical sound. The sound of the guitar can be described as harmonious and warm. A low pitched tone was produced by the
bass instrument. I think that that these three instruments complimented each other and as a result the end product was sounds that flowed together
very nicely.
Next to perform was ... Show more content on Helpwriting.net ...
This was followed by a performance of Amy Speace – she is a Folk/Americana singer–songwriter. She is using a guitar in order to provide music for her
songs. She has an interesting voice that is complimented by the sound of the guitar.
Next to perform was the very impressive Tuvan throat singing group, Alash. They have used amongst other instruments an igil and a doshpuluur. The
igil produced a very rich sound while the doshpuluur produced a soft, smooth like sound that blended very well with the noise produced by the throat
singers.
Singer–songwriter Pierce Pettis performed next. He effectively used the warm sounds produced by a guitar as guidance for his performance.
This was followed by a performance by vocalist K. Omari Wilkerson. He has a very distinctive voice that is pleasant on the ear.
Myers Park High School 's 12–member, all–female a cappella group, the Sallies performed next. They have managed to deliver an excellent
performance and the combination of their voices resulted in a very pleasant musical experience.
This was followed by the bluegrass band Charlotte–towne Collective. They have effectively used the deep, distinct sounds of an upright bass and the
lively sounds produced by a five–string banjo to give a pleasant performance.
Next up was the John Shaughnessy Trio. They have managed to find a very pleasant balance between a fretless piccolo bass, synthesizers and drums.
The combination of the sound produced by these different instruments is lively and

Orchestra Essay
Even though the times have changed, many characteristics from the past still impact the world of art today. Characteristics from the Baroque period,
Classical period, and Romantic period have had their share of impact on today's society. In order to fully develop an overall understanding of how
defining each of these eras are, one must expose themselves to the vastly varying eras' music, and other art forms including paintings. First in
chronological order of these three eras, is the Baroque Era. The Baroque Era began roughly around the year 1600 and ended during the late 18th
century. Baroque is generally characterized as an era with eccentric redundancy and also an abundance of details. Many art forms throughout this period
resembled... Show more content on Helpwriting.net ...
After the concert I headed downstairs for some muffins and brownies with my buddies except they were all gone by the time I got there!
Following the Baroque era was the Classical Era. Classical music often times represented complex emotional feelings in the music. The classical era
brought forth a few new styles of music composition. One is known as symphony. Symphonies are normally multi movement works(10) containing
four movements therefore resulting in dramatically longer pieces than the preceding era. Symphony orchestras contained the string instruments. To the
strings were added wind instruments, usually the oboe and bassoon and fairly frequently the flute. The clarinet was introduced and gradually became a
regular member of the orchestra. However, the brass section(11) was not yet introduced. The only brass instrument that was normally included was the
French horn. Trumpets, along with the timpani or kettle drums, were used only for reinforcing volume or rhythm. Another form that developed from
this era was sonata form(12) which was structured through binary form(13). The classical suite(14) also was derived from this era. Variety of melodies,
rhythms and dynamics using crescendo, diminuendo and sforzando(15) were more commonplace in the Classical period than they had been in the
Baroque.
On December 13, 2008, a couple friends and I took a trip to listen to

The History of Chamber Music
The History of Chamber Music
What is chamber music?
It is ensemble instrumental music for up to about ten performers with typically one performer to a part.
Since circa 1450, there has been instrumental music designed for private playing. These pieces used many instruments and (in Germany) it was
common that the folk songs would contain 2–3 countermelodies to expand and elaborate the whole, and to arrange the outcome for groups of
instruments. Although the pieces were never written for particular instruments, we can, through art/paintings, reasonably guess that the viol was a
predominant early chamber music instrument.
A more important source of later chamber music is to be found in the ... Show more content on Helpwriting.net ...
Parallel to the developments that led from the vocal chanson, in France, to the instrumental canzona, primarily in Italy, was the development of the
dance suite. Early sixteenth–century dance tunes in all countries of Western Europe usually had appeared in pairs: one was slow, stately in mood and
in duple metre (i.e., with two beats to the bar); the other fast, lively in mood, usually in triple metre, and often melodically similar to the first. Through
much of the sixteenth century, composers in the several countries sought to expand the dance pair into a unified dance suite. Suites based on variations
of one movement appeared in England; suites in which each of four dances had its own rhythmic character, melodically based on the first dance, were
written in Germany; sets of dances with no internal relationships to each other were common in Italy. The most influential steps were taken in France
by composers for the lute or the clavecin (harpsichord). Consisting essentially of four dance forms that were then popular – the allemande, courante,
sarabande, and gigue – the suites they composed were based on contrasting tempos, metres, and rhythmic patterns. The French version of the dance
suite became the prototype for later chamber–music forms.
It was not until the middle of the seventeenth century that two types of composition –

Lascia Ch'Io Pianga Analysis Essay
The analysis of the aria "Lascia ch'io pianga" by Haendel according to the thorough bass method, shows us how the composer refer in this piece to
the typical compositional procedures of baroque music. The aria starts with a pedal (frame, according to Joel Lester's terminology) followed by a
cadence harmonized according the regle de l'octave both in ascending and descending motion (MM. 5–8). The second episode starting at M. 8 consists
of a sequence, precisely a modified sequence, in which the subsequent is slightly modified at the end introducing a new harmony on the second beat of
M. 12 that leads to a final cadence with a modulation to the original key. The regle is always working also in the sequence, it is just applied... Show
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In "Lascia ch'io pianga" is possible to understand all the harmonies as fifths and sevenths but the bass–line motion not always moves naturally by fifths
and fourths. In many cases, through the use of the double–emploi, is has been possible to correct some irregular motions into fifth motion, but still for
some of them it hasn't been possible. Probably the most evident example is the motion by second occurring between MM. 6 and 7, and between MM.
11 and 12. The fundamental–bass analysis bring into play notes that are supposed, that are not in the score but affect the music as the roots of a tree feed
the last leaf on the highest branch. In this case, we can see how the sense of motion that we perceive listening to this aria is perfectly explained and
justified by the succession of seventh chord and fifth chord, as the epitome of the arsi–tesi feeling in music.
Even in the first two measures, that look really simple in the thorough bass analysis, we can still discover something that makes this beginning not so
obvious. In the first measure the F is transformed into D with a seventh chord on top, and the accumulation of this seventh with the next one in the
second measure create a sense of instability and a need to resolve. In the next measures this tension will be released through a succession of 5–chord
with two final combinations 7–5 to close the

Beethoven Symphony Essay
Tyler Martin
Advanced Orchestration
Symphony no. 5 in C minor Beethoven's intent behind this piece is creating diversity out of unity. The unifying idea of the work is a series of three
short notes followed by one long note. The diversity of the simple unifying idea therein is generated by the use of timbral development techniques and
expansion of the orchestra; however, there are several performance practices and technical issues that impact the work's total realization. The score
referenced throughout this essay is the Kalmus Miniature Orchestra Scores version. Beethoven takes his initial motif, which is quite simple, and
fleshes it out via timbral orchestration. Throughout each movement, he carefully places developmental and ... Show more content on Helpwriting.net ...
The first appearance of the full original motif is in measure fourteen, made of three eighth notes and an agogically emphasized eighth on the downbeat
of the next measure. This particular rendition is used throughout this movement to hold bring sections of it together on a macro level (mm. 21, 23, 30,
79 – 85, etc.). Various instruments throughout the movement also adapt three short notes as pick–notes or as set–up sections for a string of lesser
articulated notes(mm. 15 Violins, 76 – 77 Violin II and Viola, etc.). For the first time in music history, movement three sees the emancipation of the low
strings. The introductory statement of the movement is not made with violin, high wind, or even viola; it is made with the celli and basses. The two
instruments lend a sort of dark cast to the line that sounds anticipating, almost in a foreboding sense. The anticipation is met with the original motif at
measure nineteen played by horns and accompanied by strings, which is then texturally expanded into the entire orchestra, much like it has been at
time in the previous two movements (mm. 19 – 44). This movement, again conveniently in three, allows the motif to be interwoven throughout in much
the same way as the second movement while the theme from the beginning measures is also developed. Further diversity is generated through the use of

The Sound Of Upright String Bass Performance
Upright string bass performance is an ever–changing profession that has played a vital role to the history of the jazz ensemble. The bass has evolved
more through jazz in the past one hundred years than since the instrument's conception in the 15th century. In early jazz bands, the bass had a simple
and extremely conscientious style, which limited itself to furnishing fundamental harmonic tones. One of the greatest bass players in this style is Pops
Foster, known for the extraordinary power and attack of his playing. Later on in the mid–20th century, bassists like Jimmy Blanton and Oscar Pettiford
pushed the string bass into a new light where the instrument's unsuspected potential as a solo instrument would be realized. The bass also underwent a
radical change from entirely acoustic to entirely electric which has changed modern music forever. Electric bassists like Stanley Clarke and Jaco
Pastorius could now play many notes at once and utilize the fusion aspect of the music and the instrument. The role of the bass in jazz has been
constantly undervalued and misunderstood. People often view the bass as a cumbersome instrument, or as expendable. The jazz ensemble without a
bass is like a house without its foundation, unable to stand up without the structure it provides. Because the essential element in improvised jazz is the
harmonic structure of the song, it is up to the bass to guide other instrumentalists through difficult chord changes and somehow string all of the notes

Descriptive Essay On Guitar Music
For my favorite instrument, I chose the guitar. Many people across the globe are familiar with the sounds of the guitar. This chordophone, with such a
diverse sound, has been showcased in our favorite songs and bands for decades. As familiar as we are with the sound, how familiar are we the history,
manufacturers, artists, composers, and its popularity in a traditional orchestra? First, I will discuss the history of the guitar; when it started, the
miraculous evolution, and the manufacturers that took the industry by storm. Although there are many theories, the history is hazy as to exactly where
the first known guitar came from prior to the 16th century. According to the book A Concise History of the Classic Guitar by Wade Graham, Hittite
stone carvings in Turkey; dated 1300 BC, eludes to the possibility of a similar instrument, as well as mentions in the old testament of long–necked lutes
in Mesopotamia. In Greek mythology; Fourth Homeric Hymn, mentions the use of a stringed instrument made of cow gut and turtle carcass. History
becomes a lot clearer around the 16th century, when printed literature became available. According to acousticmusic the Baroque period is when the
guitar really began to gain popularity, and was commonly used to accompany vocalists. Guitar music began to grow and evolve; the Classical period
lasting from 1730–1820, and the Romantic period of 1815–1910 gained more popularity and diversity and was soon known worldwide. Other

My Love Of Music
Music is the reason I wake up each morning; it is the reason I go to school each day; it is what I spend all of my free time doing. Since my seventh
grade, music has been my passion. My parents introduced me to the joy of music at a very young age, so music has always offered me the same
everyday comforts as Blue Box mac and cheese. I have been exposed to many genres of music from Classical, to Pop, to Jazz, and many others.
While in elementary school, I joined the fourth–grade orchestra and selected the double bass as my instrument. Just one look at this enormous
instrument and I was intrigued. Just one listen to the heavy resonant sound and I was hooked. I later had the opportunity to receive personal instruction
through "String Coach," which is a program that pairs high school musicians with elementary school students to help them learn the basics of their
instruments. My recurring frustration with the program was that there was seldom a bass coach. The lack of a bass coach was unfair to the young
bassists, and I told myself if there was an instance in the future where I could help the bass students, I would.
My first opportunity to work as a string coach came during my sophomore year. As a volunteer coach to the elementary schoolers, I treasured every
moment of it. I found a great deal of joy working with the young bassists and they really enjoyed being coached by a bassist instead of a cellist. I was
very happy to have helped make a difference in the string coach

Essay on The Success of the Willie Nelson Concert Experience
The concert of the Willie Nelson Experience (WNE) was a huge success. Our success shook the roots of Arlington. Our rock n roll took us to the
top. Although street performing is not as easy as it looks, our legend of the great Willie Nelson Experience begins now. In this paper, I am going to
discuss my experiences playing in the WNE, the bass guitar, and the one and only Willie Nelson. In the legendary WNE, I am the bass player. For this
project, it took hours on end of studying the bass inside and out to become this legendary player that I dreamt of before this project. The electric bass,
a mystical object that is the foundation of every song, was invented by Paul Tutmarc. Since the 1960s the bass guitar has replaced other instruments ...
There is also a semi–acoustic bass. It is only partially hollowed out. Hofner's Beatle bass is a good example. Its the violin shaped bass that Sir Paul
McCartney often plays. The double bass, or upright bass has many different names. My favorite is the doghouse bass. This bass is often used in
jazz. People play this by plucking or slapping the bass. Another common use is in orchestras. People play this style with bows. This bass is the
largest and lowest pitched instrument of the viol family. The viol family contain the viola, violin, fiddle, and many others. The upright bass was
the inspiration of all basses. I was the first bass and probably most important because of the sparks it caused for new invention. All basses are in my
opinion the most important instruments because they hold everyone together. Learning to play the bass was my pleasure and I feel its something I
will use for the rest of my life. The WNE was inspired by Willie Nelson. In our first performance, we featured On The Road Again (OTRA) and it
was a huge hit. OTRA was written early in 1979 on a train. Willie Nelson was studying his lines for the movie Honeysuckle Rose when the executive
producer asked him to write the theme song for their movie. 35 minutes later, written on a barf bag, Willie Nelson had possibly the greatest country
hit in his hands. Willie Nelson had many albums that were critical to hi success. Shotgun Willie (1973), Red Headed Stranger (1975),

Analysis Of The Poem ' Giant Dreams, Midget Abilities ' By...
Expository Essay Analysis: "Giant Dreams, Midget Abilities
David Sedaris is a popular comedic autobiographer who delivers intelligent and slightly embellished satirical content inspired from his memoirs and
personal experiences. Sedaris's short story "Giant Dreams, Midget Abilities", is a magnificent mastery of his humorous writing style. The story is
about David's experience of him and his sisters being forced to take music lessons because of their father's maniacal obsession to start a family jazz
band. David eventually finds himself taking guitar lessons with the unique individual, Mr. Mancini, a midget. David and his teacher have a unique
dialogue and references towards his guitar, which makes David feel like an outsider and uncomfortable, keeping secret "screwball" thoughts to
himself. His guitar teacher's disdain for him coupled with lack passion and interest ended his brief uninterested flings with the guitar regardless of
how his father felt. People will honor an individual's interest if the person means that much to them, however, there is always an end to the humor if
the interest is not reciprocated. Sometimes an obliged imposition can create situations that make the imposed feel like an outsider in their own way.
Personal interest and identity may not be the standard or acceptable in the positions they were forced into therefore, as a response, a superficial
persona is created to camouflage true feelings. If the passion for a subject is nonexistent to someone,

Renoegro Orchestra
Reno Philharmonic Orchestra
On Tuesday, March 14, 2017, I attended the Reno Philharmonic Orchestra at the Pioneer Center. The program for that evening included a Violin
Concerto op 14 (1939) by Samuel Barber. With Benjamin Beilman, on the violin, the piece included three movements. Followed byGustav Mahler
Symphony No. 1 I D major, Titan (1889).
Violin Concerto op 14 (1939)
I.Allegro moderato
II.Andante
III.Presto in motion perpertuo
Symphony No. 1 I D major, Titan (1889)
I.Langsam, schleppend
II.Kraftig bewegt, doch nicht zu schnell
III.Feierlich und gemessen, ohne zu schleppen
IV.Sturmich bewegt
Before the concert began the Reno Phil director Laura Jackson held a preview discussion ... Show more content on Helpwriting.net ...
His father was the owner of a tavern. The family lived on the second floor of a local tavern, which was the main influence for the third movement due to
the consistent funeral music as the funeral processions would wind through the town.
The pre–concert speech I found very enlighting and informative. Ms. Laura Jackson is a master at bringing her interpretation of the story of the
symphony, to life. She creates a dynamic vivid image in her story telling setting one at ease in this formal and uptight environment.
The concert starts, the lights dim in the gallery. The President and CEO Tim P. Young takes the stage to inform us that this evening 's concert is
being recorded to be aired at a later date on KNPB channel 5. Mr. Young introduces, Ms. Laura Jackson she introduces the principal violinist to a
standing ovation. Followed by Mr. Benjamin Bielman enters the gallery to thunderous applause. The concert begins. Starting like a warm spring day
full of happiness, joy birds a fluttering.Mr. Beilman 's expression shows an intense passion with every note played. Dark tones turn into light in the
next movement. Like a lost loved one who has been found. From light to dark the music plays. Hopefulness swells like a playground full of young
vibrant children, running, laughing enjoying the sunshine beating down on their smiling faces. Leaves appear blowing in the wind one by one until
the crescendo of the deep dark tones reaches the top of the concert hall. A Lonely

"The Importance of Being Earnest" by Oscar Wilde: Algernon...
It is a well known phenomenon that many authors' lives are reflected through a character in their work. In Oscar Wilde's The Importance of Being
Earnest, the double life, or double identity, can be seen as the central metaphor in the play, epitomized in Algernon's creation of "Bunbury" or
"Bunburying". As this term is the only fictitious word employed throughout the text, it is crucial to critically analyze not only its use and implications,
but more importantly, the character who coins the term; Algernon Moncrieff. In addition, it is also significant to note the marked differences between
Algernon and Jack's perceptions of the notion of bunburying, as it further develops Algernon's character within the text. But perhaps the single most...
It is as though Wilde, through the vehicle of Algernon, is trying to make a point about the difference in severity between the two cases of dual
identity. Algernon never once tries to deceive others into thinking he is Bunburry, whereas Jack literally embodies a different persona depending on
his location. Jack does not admit to being a Bunburyist, even after he is exposed as such, while Algernon not only admits his wrongdoings but also
takes pleasure in it. Algernon's enjoyment stems from his own cleverness and ingenuity with his philosophy on life being blatantly apparent in his
statement, "one must be serious about something, if one wants to have any amusement in life. I happen to be serious about Bunburying..." (Wilde,
40) Still, Jack takes the idea of Bunburrying too far, and even though Algernon states to him, "I naturally want to talk to you about Bunburrying. I
want to tell you the rules," Jack has no interest in hearing about these rules and thus acts as a prime example of the consequences of the general
hypocrisy of the Victorian mindset which Wilde seems to comment on in this case. The character of Algernon is clearly complex in nature, if one can
get past all of the apparent superficialities. Despite this, Algernon's significance most notably lays in the fact that his idea of bunburying can be seen
as a deeper metaphor for Wilde's own double

Personal Narrative: The Image Of A Homeless Woman
To most, they displayed the image of modern–day, homeless musicians who couldn't pay their bills. They were just people who tried to make money
off their music, but only created a failed career. The picture seemed set in stone. A ratty clarinet, a silver guitar, and a stand up bass sitting on a park
bench, playing to make a bucketful of cash. Granted, the image simply conveys failure; in reality, it conveys success. A gentle hearted woman, Taya,
stood on the street corner of downtown New Orleans, blasting notes and gracefully moving her worn fingers along the old clarinet. Her skin was a
smooth chocolate. Her hair a dazzling ebony. She emptied her soul and her story through the roar of her instrument. The song told the story of a young
woman who had nothing but dreams in her mind. Years of heartache and lost changed nothing in her spirit or her mind about coming to the city of jazz.
Hence, wherever Taya could, she continued to play her music, but no one seemed to hear it. On the north side of the country, a heated discussion
echoed throughout the hall of Coney Island Hospital. A man with slicked, coffee–colored hair with a glossy guitar in his hand screamed at a naive nurse.
His words were desperate and sharp; hers were ... Show more content on Helpwriting.net ...
Inexplicably, Miles seemed to have been around since the city came to be. Albeit he looked like the average older man: balding gray hair and
round glasses, Miles had the aura of mystery blanketing him. The skyline of New York spelled out his name in bright blue light; however, not a soul
had seen him outside his tower except for business and a few rare occurrences since the building planted its spot in Manhattan. Therefore, many
people spread legends of the man in the sky and his scarce outings. The tales varied from dates to murder to peaceful walks in Central Park, yet not a
single person knew where he went. Well, three people knew, but we'll return to that

My Story Of The School Year Of 2010-2011
My story begins in the school year of 2010–2011. I was a fifth grader, eleven years of age, at Santa Fe 5/6 Center. As per requirements we had to take a
music class, and I knew that I could not sing, so an instrument it was. Most of that year I spent experimenting with wind and string instruments to find
out if I belonged in band or orchestra. I was never really interested in any of the wind instrument so I atleast knew I was going to be in orchestra. The
year ended with me being skeptical to if I should play an instrument or not.
With the next school year approaching fast I had to make my decision. A few days before sixth grade started, Santa Fe hosted a little music assembly
for the students and their parents to come and enjoy music and also to provide instruments for the students to try out and possibly buy. I remember
walking around a tad bit nervous looking for an instrument and that 's when I heard someone start playing the cello. I turned to look and saw a man,
Mr. Stanley, who later I found out was my cello teacher, playing the cello. He played so beautifully it inspired me. The warm, rich tone of the cello
filled the room and I remember almost everyone stopped what they were doing just to listen to him play. I think mother saw the glint in my eyes when
I first listened to the cello and she knew that was my choice. After Mr. Stanley's little performance was done, I approached him and bombarded him
with questions. In the end Mother ended up buying a three fourths

Dave Matthews Band Research Paper
Dave Matthews Band
Formed in 1991, The Dave Matthews Band is composed of the widely varied musical interests of five musicians to create a uniquely impressive
sound that combines the influences of folk, Jazz, rock, world beat, and reggae. South African David Matthews, the band's lead guitarist, began to
assemble the players in 1991 to accompany him on a demo tape of original songs. Matthews, at the time was a bartender at a Charlottesville, Va.Jazz
venue, called Millers. Matthews decided to approach the area musicians he most respected, and invite them to listen to his musical ideas. He
approached Leroi Moore and Carter Beauford first, two musicians that he respected greatly. After listening to a few songs he had ... Show more content
on Helpwriting.net ...
After he failed to make it into the Arsenio band,
Carter landed a job on pianist Ramsey Lewis's BET Jazz show, "Bet on Jazz." In January of 1991, Carter moved back to Charlottesville, playing
random gigs and taping the BET show. When Matthews heard Carter was back in Virginia, he decided to approach him about making the demo tape.
Matthews, Beauford, and Moore then approached Stefan
Lessard, who at 16, was already an accomplished upright bass player The trio asked
Stefan to play electric bass guitar for the newly forming band. Lessard was already a very well respected bass player in the Jazz circles of Virginia.
He converted to the electric bass for the band. The bass is really the only non "acoustic" instrument in the band. Sometimes, though, Lessard uses the
upright. Stefan considers revolutionary bass player Jaco
Pastorius to be his greatest musical influence. While recording the demo one of the tunes seemed to need a supporting violin, the group then sought out
Boyd Tinsely who was a classical violinist until 1985, when he switched over to rock and roll. Before joining Dave, Carter, Leroi, and Stefan, Boyd
played with a few local outfits. He had his Boyd Tinsley Band, which he continued to play with until 93, and he played with Down Boy Down, an
acoustic duo that played fraternity parties and college bars around Charlottesville. After playing with the new band on the demo tape, Tinsley
approached Dave and Carter and asked to join. Now for

Essay on Jazz Concert Review
Jazz Concert Review
[pic]
The first formal small jazz concert was held at the Maum CafГ© on Sep. 25th, 2008. There were many music performances have held at the Maum
CafГ© but Zino Park, leader of the band, and manager of Maum CafГ© agreed to arrange a formal jazz concert for the first time. The main theme of
this concert was "Smooth Jazz with Zino Park at Maum". Before the concert began, the band members introduced themselves to the audience. The
names of players were:
Acoustic guitar by Jerry, vocal & piano by Zino Park, bass guitar by Clay Luna, vocal & guitar by Zen, guitar & saxophone by Dan Stark, drum by Skip
Mccain, and harp by Monica.
Name of the first song was "Be my love". They started a song with very bright ... Show more content on Helpwriting.net ...
Zino Park used keyboard instead of piano because keyboard could play with many different sound effects. The title of the fourth song was called,
"Let's get away from it all". In their fourth song again, saxophone was played a huge role. From the beginning of the song piano kept playing same
melody line repeated and saxophone was moving wide range of notes and pitch. The rhythm and the tempo of drum changed as saxophone changed
rhythm and the tempo. The bass guitar helped drum to follow saxophone's rhythm and tempo. The saxophone style was kind of similar with the how
Louis Armstrong was playing a solo. There were two guitars, but saxophone dominated other instruments and it was difficult to hear other instruments.
The fifth song was hand drummer used sand rattler instead of hand drum. The drum solo in this song was very powerful and brought the exhilaration of
this concert to the climax. The change of unpredictable rhythm and tempo made audience excited. Many audiences were clapping with rhythm. The
sixth song was in blues style. The Name of the Song was, "I'll see you in my dreams". Just bass guitar, saxophone, drum, and keyboard were playing.
It was short piece song but just enough time to feel blues. This piece was one of few slow tempo songs in this concert. The mix of bass guitar,
saxophone, drum, and keyboard articulated

Music Class: A Report on Concerts Attended During the Class
On Tuesday, April 15, 2014 at 7:30 p.m. two abnds at San Jose State University had their first concert of the spring 2014 and directed by Dahveed
Behroozi, Jason Lewis, and John Shifflett. This conert divided and performed in two parts: Part 1:The Bjlort Jazz Combo, and Part 2: The Free Lunch
Jazz Sextet. Those program allowed me to experience the sound of the Jazz music. The music told the audience about the story of music by the tempo
and pattens. My favorite performer in this concert is Veno Bender. He played the electricbass guitar in this concert, and he appeared most of the solo
in part 1. Although I was impressed by the bass and the guitar solo in the first part, part 2 made a more lasting impression on me. The ambiance of
the performance was very professional yet casual. The concert started with Fisrt Rain and Jean Marie. They combined those pieces and began slowly
as the bass was building the parttern of the music. As the passion of this piece heated up at first, the mood suddenly became faster as the pattern of this
piece felt like Blues with guitar solo. I was stock by the sound of guitar because the guitar was a wireless guitar. I could not imagine the price of his
guitar because he tuned his guitar as the sound of piano without sound effect pedal. After the guitar solo, bass started its' solo part. This part was one
of my personal favorites because I like the partnership of the bass and the drums of the song. The beat of the drum bass was so deep, and the

Analysis Of Monody To The Victims Of Hiroshima
Successful composers manipulate the musical elements to portray military conflict and emotional impact. A polish composer, Krzysztof Penderecki,
composed an experimental piece, later titled Threnody to the Victims of Hiroshima, in 1960. The piece was originally titled 8'37" but was changed
when he heard it being performed. Penderecki stated 'I was struck by the emotional change of the work... I searched for associations and, in the end, I
decided to dedicate it to the Hiroshima victims' (Jamie–Leigh, 2010). Threnody to the Victims of Hiroshima is composed for 52 stringed instruments
and depicts the horror and tragedy of the bombing. The composer is successful in his ability to manipulate the musical elements, expressive devices,
pitch and timbre, to portray the military conflict and negative emotional impact of Hiroshima.
Penderecki's purpose of evoking emotions and relating to military conflict is evident in his manipulation of expressive devices, specifically though his
use of dynamics. At 3:32, the violas begin playing very loud at ff. After this the other instrument groups have delayed entries with loud fortissimo
dynamics. This is seen specifically at 3:32 to 3:45, when a violin and cello group begin to play but are not joining in at the same time. These delayed
entries combined create a sense of high tension. The additional instruments playing increase texture and thus increases the volume. Due to these loud
dynamics, an image of pain and horror can be heard. The delayed

BethovenВґs 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

Rock And Roll: A Music Analysis
When analysing music it is important to consider several factors that are vital to the make up of a song. We must consider pitch, harmony, and timbre.
Harmony is an important part of a song and can be achieved by playing or singing the intervals in a chord after the root note. Harmonies are often
utilized by backing singers and instruments such as guitars to create a thicker or more emphasized sound. Pitch is another important ingredient in a
song. The pitch is essentially what frequency the notes are played at within a song. The frequency of note changes depending on which octave you play
the note on. Analysing the timbre of the instruments is essential when looking at why an artist chose the instruments they did. Timbre essentially is the...
The bass drum is not so punchy. The 'thump' in the 60 to 100Hz range is perhaps cut a little to provide a snappier sounding drum kit. The guitars
within the track on the most part tend to be fairly mid range. For the verse and the intro the guitars sound like some of the low end may have been cut
around the 110 to 300 Hz range. This just removes some of the bass and fullness of the guitar tone. The guitars (during the verse) sound quite 'airy' and
'bright'; this suggests a boost in the higher ends around 2.5 to 5 kHz. Contrastingly in the chorus the guitars become heavily distorted and sound a lot
thicker. This contrast points towards less high–end and more low frequency boosts around the 200 to 250 Hz range. This gives the guitars are thicker
heavier sound and works well within the context of a rock song. The bass guitar is also fairly mid–range and is perhaps boosted around the 110 Hz
Mark. This just provides the bass with 'snappier' sounding notes. Within the bridge of the song the vocals lose a lot of their high–end and become quite
distorted. This can be achieved by a cut at around the 1 to 5 kHz frequency band. This is where a lot of the 'air' of the male vocals is contained. This
again just creates more variation in a song that essentially features very few chords and very few

Fender Brafield History
In 1954, Leo Fender made many prototypes for guitar he was trying to build. Each prototype had a various specs added or taken from the guitar. In
October of the same year, the Fender Stratocaster went into full production and still is in production to this day. The Fender Stratocaster has become an
iconic guitar used by famous people like Jimi Hendrix, Eric Clapton, Buddy Holly, and Ritchie Valens ("Artist"). The Stratocaster is used in many
genres of music such as blues, jazz, rock, and country. Other guitar companies noticed the fame that Fender was making and became producing cheaper
Stratocaster. Fender wanted to do the same while still having the prestigious name. Fender bought a company named Squier and began producing the
Stratocaster ... Show more content on Helpwriting.net ...
Fender and Squier both use tremolo style bridges. The difference is that Squier produces guitars in China. They use a type of metal referred as "pop
metal." The Chinese collect recycled soda cans and melt it along with a bit of zinc and steel to make it stronger. They cast a mold of the bridge and
mass–produce the bridge. With Fender, the tremolo bridge is made out of steel and heavy machinery forms the bridge. The tuning machines on the
head of the guitar are also same but very different. With Fender, the rotation ratio is 1:18, which is highly accurate and tunes as it turns. For
Squier, the ratio changes to 1:10, which makes it harder to tune because of the more rotations. Most importantly, the pickups of the guitars are very
different. Guitar pickups are a device that picks up vibrations from steel or nickel strings using magnets and wounded copper wire. This creates a
magnetic field and when the strings move they disturbs the field and changes the current passing through the coils of copper wire. This current is
then flows out the output and amplified with an amplifier (2015). With Fender's pickups, they use Alnico slug magnets and pure copper with their
coils. These pickups have a nice, clear, and pure tone and sound to them. Squier does not do the same. They use "pop" metal slugs and copper with
zinc and other conductive metals and glue a magnet at the bottom of the pickup and it works the same. This will also give you a clear tone but it is
not so pure sound. They essentially do the same job but it is cheaper. Also time is a main factor to this. It takes less time to make an Squier
Stratocaster than it is to make a Fender Stratocaster. This means it is easier to get an Squier and cost

The Life of Pianist Ju-Fang Essay
Ju–Fang started playing the piano when she was three, and began studying the bass at the age of 6. She originally wanted to play viola, but her parents
thought her height was a sign for her to play the bass. Although born and raised in Kaohsiung, Taiwan R.O.C, she was awarded a scholarship to attend
Interlochen Arts Academy in Michigan, majoring in both piano anddouble bass. Prior to winning her position with the ISO, she performed at the
Marlboro Music Festival, Aspen, Tanglewood, the Sun Valley Music Festival, the Kansas City SymphonyOrchestra, the Evansville Philharmonic, and
the Owensboro Symphony Orchestra.
She first played a song that she said was loved by everyone in China. It's one of the classical pieces that people in China ... Show more content on
Helpwriting.net ...
One thing I noticed off the bat was that he held his bow the German way. Whereas the other two artists had music, Volkan memorized his. His eyes
were closed for some parts and he would sway while playing. His sound was very rich, much like a singer's voice. He stayed relatively still compared
to the other two bassists, but there was no stiffness about it. His music was unique and sounded really cool. He also went up pretty high in position.
For his third song, he began playing before the piano joined him. Between him and the pianist, they passed around melodies and harmonies. I noticed
that his arm would hang over his bass when he shifted up. He had continuous vibrato and the music itself sounded dark. Perhaps it was in a minor
key? The fourth song was happy and exciting to listen to. His music switched between major and minor a few times. He was always listening carefully
to check for intonation.
Joseph Conyers:
Joseph H. Conyers was appointed assistant principal bassist of the Philadelphia Orchestra in 2010. He joined the Philadelphia Orchestra, after a one
and a half year tenure with the Atlanta Symphony Orchestra, three and a half years as principal bassist of the Grand Rapids Symphony (MI), and four
summers as a member of the Santa Fe Opera Orchestra (NM).
He held his bow the French way. His music sounded mysterious and exotic, like the harmonic

Double Bass Research Paper
For an instrument someone expects to be minor in an orchestra, the double bass surprising. The double bass, which is part of the violin family, is the
largest and lowest sounding timbre acting as an acoustic bass guitar. The double bass also is featured in most orchestra's string section, concertos, and
modern music. It wasn't till the jazz era when blues, rock and roll, and bluegrass contributed to a new vision of composition. Traditional the double
bass is bowed. Bows are usually made up of horse tail hairs which coated with a resin, which is made from pines and other conifer plants. When
bowed, the stick–slip phenomenon allows the strings to vibrate and resonate in the instrument.
The first piece that was played Sonata in g minor by Henry

Blend And Double
Blend and double
Let's talk about a few tricks that have been used on some famous recordings but still seem to be a bit of a mystery to plenty of audio engineers. Just
like with compression, you have to be able to handle the concept of subtlety in order to use these tricks without it turning into an overdone disco. Blend
these tricked up sounds into your bass mix quiet enough to where no one could pick out what you are doing but loud enough to where they add
something to the bass guitar.
Create an evil twin
If a bass guitar does not seem to be cutting through a mix, try creating a duplicate track and run the copy through something that will provide some
overdrive. The SansAmp is perfect for this. Overdriven tones can be dialed in with ... Show more content on Helpwriting.net ...
The rule of subtlety still applies here. We are not trying to reinvent the bass here, just reinforce it a bit.
Don't fool yourself
I will leave just a few words about your monitoring setup and then leave the rest of that subject for an article dedicated to good studio monitoring.
The point here is that you are not going to be able to record, judge, or mix bass parts unless you can hear them in your studio. It sounds simplistic but;
if you can't hear it, you can't use it properly.
Turn it down
I know. Those three words really bring me down too. Aren't we supposed to be defiantly cranking it loud and proud regardless of what the neighbors
think? In this case, the answer is no. If you are listening to your bass tracks at ear splitting levels, you are artificially making it appear as though your
bass tracks have range and backbone.
Monitor your tracks at a moderate level. If you can create a sound that is full and punchy at these low levels, they are going to sound amazing when
you crank it to ear–shattering, cop–calling ultra–mode.
Balance your subwoofer
If you are using a subwoofer as part of your studio monitoring scheme. Ask yourself if you are using it to extend the true range of your monitoring
abilities or to disproportionately jack up the bass you hear so it sounds nice in the studio. Trust me, you want the first choice. Use a variable sine wave

generator (available on most DAWs nowadays) and sweep it through the

Concerto Grosso Music
Baroque Concerto Grosso
A Concerto Grosso is a genre of music where the musical material is passed between a small group of soloists (the concertino) and a full orchestra (the
ripieno). The concertino generally has more virtuosic music than the ripieno, and they do not often share thematic material. It was developed in the late
17th Century, although the term 'Concerto Grosso' would not be used until 1698 when Gregori published a set of 10 compositions.
There are 2 forms of the Concerto Grosso – the concerto da chГesa (a church concert) and the concerto da camera (a chamber concert). The concerto da
chГesa alternated between fast and slow movements, and the concerto da camera was similar to a suite, in that it was introduced by a prelude, and
incorporated popular dance ideas of the time.
Concerto Grosso in D minor Concerto Grosso in D minor was composed by Antonio Vivaldi and was published in 1711. The concertino is made up of
two violins and a cello, and the ripieno is made up of strings and a continuo. For the first 20 bars of the piece, the two solo violins play
unaccompanied. The second movement (the Adagio e spiccato) is extremely short (only three bars long), and the instrumentation is tutti, as everyone is
playing. In the third movement the solo cello does not play as the solo violins converse with each other. The Concerto is in D minor, and rarely
changes key, however it does modulate briefly to the subdominant and the dominant keys (G minor and A minor).

Caribbean Double Bass Guitar Analysis
The double bass, to a non–musician, can just look like a giant guitar, but in reality it is less like a guitar and more like a giant violin. The double bass
is the biggest of the violin family but emanates a lower pitch than most of the other family members. The solo "Pirates Of The Caribbean Double
Bass Solo" is an awesome example of how this instrument can tell a story just with its notes. This melody is not an easy one to remember, it can be
very complex since it has so many different notes to achieve in such a close amount of time. The double bass is not a simple instrument to play
especially because of its low pitch and its volume. The tone of the instrument does not let the musician play very high notes because this instrument is
made with low range. I can only hear one clear theme in this work and that is what makes it ... Show more content on Helpwriting.net ...
But with time there are consonant harmonies in this work because the dissonance finally meets stage where the notes fall back into a pleasant sound
and no longer makes us humans tensioned. The rhythm to this piece is very important because through the rhythm is where the artist portrays the
journey of the pirates and takes you to another world while listening to it, it takes you to the actual movie! When I listen to this piece my emotions
are adventurous. Listening to this piece makes me want to be the pirate Jack and go find some gold and kill some sailors. The whole piece itself I
would describe it as a color blue, blue for its adventurousness and bravery. the texture can be thin just because of the reason the double–bass does not
create a thick texture but this does not take away from the piece. The piece is perfectly fine played with the double–bass. In fact, with any other
instrument it wouldn't have captured the musicians true purpose of adventurouness and bravery in the way it

Summary Of The Concert By Gerrit Van Honthorst
The art work of Gerrit Van Honthorst called The Concert was painted during the 15th or 16th century. The title of the painting gives a clue as to what
is happening within the painting. The painting is an oil, canvas. The title The Concert suggests just as in the painting, a group of people is gathering
for a concert. There are intense muted hues of yellow, blue, red, and green. The painting contains traditional linear perspective and the book placed on
the table helps create the 3–D dimensional on the overall painting. The shapes of the figures are sharply defined and the objects such as the table, book,
and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the
source light to have a more natural appearance throughout the painting. The shadows at the right–hand corner and the men wearing green in the middle
contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast.
There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout
the painting show gradations and the highlights create more depth. Staring from the upper–left hand corner with the first figure of a gentleman wearing
a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

Julian O Hara Take You Everything Analysis
Every week at Soya–Restaurant at Midtown opens its door for some live Jazz. It had a great atmosphere while you eat or just enjoy some drinks at the
bar. Last Saturday it opens its door to a unique,unscripted and talented performer Brendan O'Hara
Brendan O'Hara born in Boston but was raised in Washington and New Jersey. He is a singer– songwriter how played more than four instruments
including piano and guitar. He learned the piano and his deep love for music from his grandfather, a beatnik who played ragtime. He was funky and
lycra, with raw energy, and extremely diverse. He was able to bounce from one instrument to another while he was singing, jumping between piano
and guitar. His voice came directly from his heart as he said "breathe life into words and rhythms with my voice". He had a combination of blue, rock,
hip hop, and ... Show more content on Helpwriting.net ...
The first song is named "Your Everything". This song was written by him. He had the company of Keith Cooper a dynamic tenor saxophonist. this
song was an optical combination of guitar, piano, and saxophone where Brendan beside sing the song also played the piano and the guitar
simultaneously. Another excellent song was "Take your time" This song was a mix of blue with rock. Also accompanied by his friend in the
saxophone and he on the piano. you would able to see how O'Hara's finger wildly danced across the key belting an original song also written by
him. With his voice and the saxophone you could feel how your body vibrate with the rhythm taking you out of this world. Last but now least was
"Thing are Happening all over the world". A difference of the other two song that were most romantic this one was an acoustic hip hop about political.
He explained that he wrote that song so many years ago under Bush presidential but it is still relevant today. He talk while he rap about
commercialization of the media and our culture as a whole. It was such an interesting

Miles Davis Kind Of Blue Essay
Miles Davis' Kind of Blue is the single biggest selling jazz album ever made, selling over 5 million copies, and was my favorite to learn about. It is
known to be one of albums that convert people to liking jazz styled music, even though it was created over fifty years ago. The most significant part of
the album to me was that it made such an impact on the jazz community and it was only made in seven hours and all but only one of the tracks were
first takes. What has stuck with me in the documentary was the saying, "The first thought is the best thought." I really appreciated this because the
artist stuck with their initial first gut feeling. The music was really innovative and most specifically, the opening of "So What", was completely
improvised and then the riff takes off, allowing to be one of the most iconic songs in jazz (in my opinion). The magic of music was truly created in
this album creation and led a different direction of jazz creation.
Time Out by the Dave Brubek Quartet was what was said to be "a dream ... Show more content on Helpwriting.net ...
It is known to be one of albums that convert people to liking jazz styled music, even though it was created over fifty years ago. The most significant
part of the album to me was that it made such an impact on the jazz community and it was only made in seven hours and all but only one of the
tracks were first takes. What has stuck with me in the documentary was the saying, "The first thought is the best thought." I really appreciated this
because the artist stuck with their initial first gut feeling. The music was really innovative and most specifically, the opening of "So What", was
completely improvised and then the riff takes off, allowing to be one of the most iconic songs in jazz (in my opinion). The magic of music was truly
created in this album creation and led a different direction of jazz

Bass Guitar Essay
It is no simple task to learn to play an instrument. Innumerous hours must be spent playing and practicing your instrument to become suitably
proficient. However, not everyone wants to invest the time (and money) to learn an instrument. If you don't play an instrument, fear not, for there is
hope still. Here are the three instruments, that, in my opinion, are the easiest to pick up and play with little or no instruction. (Be warned, however, as
there is a massive difference between playing a little tune, and being truly good at an instrument. No instrument is easy to master.)
Going from in order of increasing ease, first off is the bass guitar. Now, in no way is the bass guitar "easy" to be good at. However, when compared to
similar ... Show more content on Helpwriting.net ...
The next simplest instrument is the piano. Now, the piano can be quite tricky. There are so many keys, it can be quite confusing. Also, the piano
allows for the most complex chords of any instrument. However, to play a simple melody, it is straightforward enough. On a piano, there are black
keys and white keys. On a regular piano, each key is a different note, one half–step apart from the next, just like each fret on a bass or guitar. However,
there is only one row of notes, unlike the aforementioned bass or guitar, which (usually) has four and six rows respectively, because of the different
strings. The white keys on a piano are called "natural notes". Notes like A, E, and G are natural notes. The keys are the sharps and flats. Notes like
A# are what sounds when a black key is pressed. Now, there are a few key (no pun intended) elements to playing piano if you have no idea what
you are doing. The first is only play one note at a time. The piano is capable of create some quite beautiful and interesting chords if played correctly.
But if you go and start combining notes together at random, it makes for an unpleasant noise most of the time. If you play only one note at a time, you
only have to deal with the intervals (spaces between notes) that each note makes when used in succession with another, rather than the intervals that are
required to make lovely chords. Next, don't play too many notes. If you keep the tempo (speed of the music) slower, and

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