Bargemusic Concert Hall Analysis

Bargemusic Concert Hall Analysis
This Bargemusic Masterworks Series concert was held at the Bargemusic concert hall on November
10th, 2016 at 8pm at Brooklyn Bridge Blvd in Brooklyn, NY . The primary musician for this event
was Andreas Foivos Apostolou in the role of piano player of these pieces of these select composers
and musical pieces: (1)Rameau: Suite in G Major "Nouvelles suites de pièces de clavecin",
(2)Mendelssohn: Fantasy in F–sharp minor, Op. 28, "Scottish Sonata", (3)Carl Vine: Piano Sonata
(1990) and (4) Andreas Foivos: Apostolou Étude; Prélude (*Premieres); Fantasy. The Bargemusic
concert hall is not a large venue, but it certain provided an adequate environment for a single piano
player performance. The acoustics were exceptional for such a small concert ... Show more content
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Certainly, he showed a great diversity by intermixing early classical composers from across different
historical eras, but his specialty lies in the abstract modern works of his own compositions and those
of Carol Vine. In this manner, Apostolou seemed to enjoy himself to a greater degree when playing
20th century pieces; even though he was very adept at playing older pieces for the audience. In
comparison, I tended to enjoy Mendelssohn's Scottish Sonata" more than Vine's modern
composition. I am more prone to enjoy the :"gothic" essence of Mendelssohn's flowing scales and
melodies versus that of the rigid and experimental cacophony of Vine's extremely modern style of
piano composition. I was baffled by the complexity of Vine's scale modulations, which demands a
greater deal of pianistic virtuosity. However, I was more impressed by the deep feeling of the
Scottish Sonata" as an example of a more romantic style of early classical
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Analysis of Tchaikovsky's "Romeo and Juliet" Essay
Tchaikovsky – Romeo and Juliet
The slow introduction, which is the theme of Friar Lawrence, begins with a slow minor melody
played by the clarinets, which imitates a Russian hymn. The strings then take over the melody and
use suspensions. There is a modulation to the major and the strings and woodwind play together.
The music modulates back to minor and the flute plays an ascending minor arpeggio whilst the harp
plays glissandos. This is repeated. Pizzicato strings then play a descending sequence whilst the flute
melody crescendos and accelerates. A string legato melody then alternates between the cello and the
violin, before all the strings play together and crescendo as the harp accompanies and the violins
play a pedal note. ... Show more content on Helpwriting.net ...
Harp scales and a string passage then follows. There is a brief modulation back to minor, and then
the flute repeats the love theme in major, accompanied by pizzicato strings. As the melody
crescendos and accelerates, the horn plays a countermelody. Harmonics are heard in the
accompanying strings as a legato string melody is played, before the cor anglais returns and plays a
gradual diminuendo, ending in a perfect cadence.
The development and recapitulation section opens with the strings and flute playing antiphonally in
a minor key. The melody is very rhythmic and uses accelerando. The strings then play ascending and
descending scales, before playing a melody that is accompanied by brass. The French horns and
woodwind section then play in imitation. There is a crescendo, with ascending scales played by the
woodwind. The strings play an inverted pedal as the French horn and woodwind imitate each other
again. The cello then plays the melody, imitated by strings and flute. An ascending and descending
string passages follow, with cymbal crashes. The brass and strings play a syncopated rhythm, which
is repeated by the orchestra and uses cymbal crashes. The orchestra then repeats the fight melody,
using cymbal crashes, suspensions, triplets and descending scales, whilst the trumpets play the Friar
Lawrence theme. Following the crescendo, there is a descending string scale, then the woodwind
then plays an arpeggio melody whilst the

Viola Concerts Concert Report Sample
On October 2, 2015, I attended the Viola Quintets concert. The performance contained two
violinists, two violaists, and a cellist The concert began at 7:00 pm and ended around 8:10 pm.
Furthermore, it was located in the Farrell Auditorium, which is in the Saint Louis Art Museum. At
this concert, I listened to professional musicians that are a part of the St. Louis Symphony perform
music that was composed by Felix Mendelssohn. Felix Mendelssohn's String Quintet No. 1 in A
Major, Op. 18, and String Quintet No. 2 in B– Flat Major, Op. 87 are the two pieces the musicians
played. Furthermore, these pieces are absolute music, symphonies, and have a romantic style.
The first piece that the musicians played was Felix Mendelssohn's String Quintet ... Show more
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Afterwards the musicians changed their seating arrangement and started to warm up. A couple
minutes passed and they started performing String Quintet No. 2 in B– Flat Major, Op. 87. The four
movements were Allegro vivace, Andante scherzando, Adagio e lento, and Allegro molto vivace.
Overall the movements in this piece were smoother than the first piece. However, the movements in
the second piece were still very lively. When the musicians started to play Allegro vivace, I noticed
the lower notes. Furthermore, this movement was not as fast as the other movements in the first
piece. The lower notes caused the movement to be more dramatic, and it reminded me of a rainstorm
that eventually gets cleared up, but comes back. Everyone was playing the same notes during the
end of this movement, and it was very loud. Andante scherzando was very different. The piece was
normal paced, a little bit legato, with some staccato notes.There were tempo changes, but it was the
most calming out of all the pieces. The cello stands out in this movement because the notes are
legato until the cello begins to play staccato notes, and the other four players also play staccato
notes. Similar to Intermezzo: Andante sostenuto, this piece also ends with soft bounces after an
enormous build up in dynamics. Adagio e lento starts off within the lower register of notes and is
also dramatic. The music reminded me of music that would play if

Sara Smile: American Musical Duo Hall And Oates
"Sara Smile" is a very notable song from the seventies. American Musical Duo Hall & Oates
released the hit song in January 1976. The song brought much attention and credibility to the duo by
reaching number four in the Billboard Hot 100. "Sara Smile" was the second single in the Daryl Hall
and John Oates Album produced by RCA Records. The song was written about Hall's longtime
girlfriend and collaborator, Sara Allen. Hall describes the song as "a postcard." The couple broke up
after 28 years, but the situation doesn't affect the romantic appeal of the song (Sara Smile by Hall &
Oates Songfacts). Hall proclaims his love for Sara's love in the line "it's you and me forever (Sara
Smile)" although it wasn't forever the song still had a genuine ... Show more content on
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Boyz II Men have extremely impressive harmonies, but there is such a thing as overdoing it. The
excessive incorporation of harmonies and legato makes the song sound messy and exaggerated. The
harmonies make the song feel more sexualized, contributing to the less romantic feel. I applaud
Boyz II Men for staying true to their genre and style, but it took away from the passion and original
Hall & Oates vibe. Overall, the cover felt like an attempt to impress a girl by using vocal skills in

The Violin: A Comparison To An Animal
The instrument I have decided to compare to an animal is the violin. I chose the violin because it has
a free flowing sound which compares to an eagle. The sound a violin portrays is majestic and
soothing which correlates with the animal I have chosen. It can be both Conjunct which sounds
hopeful and very beautiful, as well as Disjunction which sounds tough and powerful. The violin can
be played legato and staccato which I will explain while comparing to the animal I have chosen. The
smooth flow of the bow that is used to play this particular string instrument is magical and
wonderful to watch. The freedom one has while playing the violin is worth mentioning because I get
the same feeling while watching an eagle fly free and proud. The animal

Analysis of Tchaikovsky's 'Swan Lake' Essay
Tchaikovsky is one of the most popular of all composers. The reasons are several and
understandable. His music is extremely tuneful, opulently and colourfully scored, and filled with
emotional passion. Undoubtedly the emotional temperature of the music reflected the composer's
nature. He was afflicted by both repressed homosexuality and by the tendency to extreme
fluctuations between ecstasy and depression. Tchaikovsky was neurotic and deeply sensitive, and his
life was often painful, but through the agony shone a genius that created some of the most beautiful
of all romantic melodies. With his rich gifts for melody and special flair for writing memorable
dance tunes, with his ready response to the atmosphere of a theatrical situation ... Show more
He realises his mistake and rushes to find her in the forest, where they are reunited. However, the
magician says that Siegfried must keep his promise to marry Odile. The only escape is for Siegfried
and Odette to die together, so they plunge into the lake and the spell is broken. The magician dies,
and Siegfried and Odette find happiness in an afterlife.
1. Scene
The harp plays ascending scales whilst the oboe plays a minor legato melody. The bass strings play
pizzicato then the rest of the string section play tremolando and Crescendo. The brass repeats the
melody, accompanied by the orchestra and a string tremolando inverted pedal. A string melody
follows, accompanied by pizzicato strings and brass. There is a series of suspensions in the brass
with perfect cadences, then an anticlimax with descending strings and brass. The main melody is
repeated again, syncopated, in augmentation then there is a diminuendo as melody strings then
French horn play melody.
2. Waltz
The introduction opens with a descending minor scale by pizzicato strings, followed by three
sforzandos in the orchestra. Section A begins with strings, woodwind and brass playing a waltz
rhythm, which modulates to major. The strings play melody 1, which is then repeated with piccolo
countermelody. Brass and string crescendo and cymbal crash before strings play melody 2 which is
dotted, and followed by suspensions and an imperfect cadence. The suspensions are repeated with a
perfect

Mid-Year Band Concert
On February 25, 2016, I was able to see the Mid–Year Band Concert in the PAC. The pieces I have
chosen to review were performed by the Varsity, Symphonic II and Symphonic I Bands and
conducted by Mr. Bailey and Mr. Hillhouse. "King Cotton," "Amparito Roca," and "Valdres" were
among my favorites in the program and are all coincidentally, marches. To start with, the Varsity
Band performed a royal march called "King Cotton" by Karl King. It reminded me of a Sousa–type
piece due to the recurring melody and march style. As the piece began, the band played tutti but had
a mediocre balance due to the woodwind instruments, particularly the clarinets, standing out from
the others. Their reedy timbre and higher pitch than the rest of the ensemble ... Show more content
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Hillhouse. It was a Norwegian march named "Valdres" by Robert Jaeger. The piece begins with the
trumpets and snare drum with a mezzo piano dynamic. The trumpet repeats the same legato phrase
of what seems to be eighth note, dotted quarter, eighth note, eighth note, eighth note then a whole
note. Each time this was played by the brass instrument, it ascended by a half step. I personally liked
this rhythm because it felt slower and more relaxed than the previous marches. Shortly after, the
clarinets join in and layered the trumpet and snare. These woodwinds added a airy timbre to the
slower piece and therefore, the dynamics changed from lento to vivace. Soon, all woodwinds, brass
and percussion joined into the repeating melody adding a fuller feeling to the march. Shortly, the
band crescendoed into a short rest. Then, the french horns to play piano, giving a darker tone and a
brassy timbre. During this, a trumpet played a short fanfare that was very well played with use of
quieter, legato dynamics to resemble the rest of the brass but still be more prominent with an
unequal balance. The trumpet also had a pattern of an ascending then descending scale. Together the
brass reminded me of the fullness and darkness of a serene forest or peaceful voyage. Perhaps
resembling a sail through a fjord due to the march being Norwegian. A clarinet follows the trumpet's
solo in the same rhythmic fashion and then the band plays tutti. The piece then repeats back to the
very beginning at mezzo piano with the trumpets. The piece then closes as it did before the break
into a different

An Analysis Of Like A Dog Chasing Cars By Hans Zimmer
I chose to start my first song, Like a Dog Chasing Cars by Hans Zimmer from the very beginning
and at 1:50:53 in the movie/ where he says "hang him from the bridge". I feel like this scene had an
astonishing amount of tension and suspense. Rob Roy was fighting for his life and as can be seen in
the movie was willing to do anything to get away. In the song I chose it starts out soft but has a
crescendo as the music continues. I thought this fit with the scene very well, because at first when
Rob Roy jumps off the bridge it is more surprising than suspenseful, but then as the scene continues
it becomes more stressful. In Like a Dog Chasing Cars there is an overall minor tone to the whole
piece. Throughout the whole piece there is both a crescendo and accelerando which makes a
building feeling. The building feeling is finally almost released when I end the piece and the soldiers
walk away from Rob Roy. There is a recurring melody and steady background beat also helps pace
the piece. The background for the most part is also very staccato while the overlapping pitches are
legato. Also, near where I'm ending it there is a new sense of hopefulness, because the pitch of the
notes is raised a little bit. Also, I think there might be a keychain to add to this new light tone. The
hope connects to the movie, because there is hope that Rob Roy might actually escape. The music
ends when the soldiers walk away from Rob Roy.
I chose to start the second 14:41 minutes into the song, because

I First Heard About The Etude Op
I first heard about the Étude Op. 10, No. 3, in E major composed by Frédéric Chopin in a TV drama.
The protagonist introduces the piece as the Song of Farewell which is about the departure of two
people. While I was listening to it, the piece walked me through a path of memories.
This Étude Op. 10, No. 3, in E major is in ternary form, with ABA sections. The piece starts softly
with legato. The narrow range notes form a motive that put people into peace. The arch–shaped
phrase introduces audiences into the journey. The bass harmony acts as an accompaniment and
footprints that guide people back to their past steps by steps. Antecedent and consequent also appear
in this piece which in the first time of the phrase, the melody comes in soft and quiet; in the second
time, the phrase gets louder and is a variation of the first phrase. To me, these two corresponding
melody acts like the process of recalling the past time. In the beginning, the memories from the past
start appearing in minds, and soon, the pictures become clearer and more details pop up. With the
uses of dynamics, first crescendo and follows by decrescendo, it develops the sadness of the piece in
which it allows the audience to fall into the memories and soon after realising these precious times
have already become the past that they can no longer go back and the decrescendo represents a
sense of regret and sorrow.
The second part, which is the B section of the piece, composes of a totally different melody and to

Analysis of The Sleeping Beauty by Tchaikovsky
'It seems to me, my dear friend, that the music of this ballet will be one of my best creations. The
subject is so poetic, so grateful for music, that 1 have worked on it with enthusiasm and written it
with the warmth and enthusiasm upon which the worth of a composition always depends." –
Tchaikovsky, to Nadia von Meck.
The Sleeping Beauty by Tchaikovsky is another ballet that is based on a fairy tale, and was first
presented to the Tsar of Russia.
It tells the story of Princess Aurora, King Florestan's daughter. The fairies have been invited to
Aurora's christening, and each one in turn dances and gives a magic present. However, the wicked
fairy, Carabosse, interrupts the ceremony and is furious that she wasn't invited. She announces ...
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The oboe then plays main melody. There is a rallentando and diminuendo with a flute melody and
pizzicato strings.
Pas d'action
There is a minor brass introduction followed by ascending and descending major scales played by
the harp. The strings play a legato melody and there is a pedal note in the woodwind. The music
modulates back to minor and there is a crescendo with a sequence and use of the timpani. There is a
descending arpeggio played by the brass section, and then the string melody is repeated with brass
repeated notes. The music has a ¾ rhythm and an adagio tempo. There is a quiet woodwind
passage with a timpani roll and crescendo. The main melody is then played by brass. It is then
repeated with cymbal crashes, brass fanfares and a timpani roll. There is a crescendo with discords
and imperfect cadences. And the piece ends with a perfect cadence and timpani roll.
Panorama
The harp and pizzicato bass strings accompany a legato string melody in major. There is a crescendo
and diminuendo, and then melody is repeated. The music is quite fast and again has a ¾
rhythm. There is a modulation to minor and the strings play a sequence, which is repeated by brass.
Major harp scales close the piece.
Waltz
The piece opens with a major ascending sequence by the orchestra with an imperfect cadence. Bass
instruments play the waltz rhythm for 2 bars then the strings come in with the sequential legato
melody.

Midsummer's Night Dream Concert Report
After an amazing performance of the concerto, Heidi Van Hoesen Gorton left the stage and the rest
of the orchestra came back to play selections from Mendelssohn's Midsummers Night Dream. The
first movement they started with was Scherzo. The start was a very light, quiet and fast melody flute
with smaller intervals. The tempo, as stated in the title is very fast paced and the melody contained
many shorter duration notes. The clarinets then repeat the melody. After the flutes have melody
again, but more instruments join, increasing the dynamic level. Interval jumps in the middle of
phrases put emphasis on the down beats, giving the clear impression of a compound time signature.
After this section, the low woodwinds play a figure with descending ... Show more content on
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The movement starts with a brass fanfare with triplet figures. This part was very light, short, and
bright. The strings then played the main theme of the song and the rest of the orchestra joins. This
melody was very flourished with trills in the phrase. Everything was crisp and light and the timpani
provided support to the main melody. The brass section then joins the melody and crash symbols
add emphasis to the melody. Accented percussion gave it a sense of grandiose. The melody
continues to repeat and then a new melody was introduced in the upper voices. Other instruments
join the melody and this repeated for some time. After this section the main theme of the song was
played again. Then, the dynamic drops all of the sudden and it switches to a much more lyrical
melody. The melody contained longer note durations and was very legato. Smaller intervals make it
much more smooth. Other instruments play a ostinato underneath with faster duration notes to push
the phrase. The brass fanfare then comes in and is played underneath the melody. This serves as a
transition back to the main theme. The fanfare is then played again and flute trill was being played
underneath and then there is a ritardando until the

Reflection Of The Marin Oratorio
I saw the Marin Oratorio perform in the afternoon at College of Marin. The ensemble played
classical was made up of every type of instrument including brass, woodwind, strings, percussion,
keyboard and voice. They performed The Seasons by Franz Josef Haydyn. The venue was a pretty
large theatre. The stage had two levels with most of the instrumentalists on the bottom and vocalists
behind on risers. The stage was separate from the audience but pretty close. I could see nearly
everyone, which allowed me to see who was playing each part. The Seasons is made up of four
movements: "Spring", "Summer", "Autumn", and "Winter". The format is a poem that the vocalists
sing backed up and emphasized by the instruments. It is subdivided into 35 verses. The Seasons is
based on a collection of poems by James Thomson. It is the love story of common farmers that takes
place throughout the seasons. The first movement, "Spring" is light and playful and has a lot of
staccato and spiccato. The last song, "Wonderful, powerful, merciful God!", is stronger with more
drum and brass and serves as a transition to "Summer". The second movement is legato and more
powerful. "Autumn" is about a hunt and excitement. The last movement, "Winter", is filled with
stories from the soloists and the instruments are mostly backup and play long notes behind the
vocalist. The ensemble is arranged with string instruments in the front and center in a semicircle
around the conductor with brass behind the violins

I First Heard About The Etude Op
I first heard about the Étude Op. 10 No. 3 in E major composed by Frédéric Chopin in a TV drama.
The protagonist introduced the piece as the Song of Farewell that describes the departure of two
people. And while I was listening to the piece, it walked me through a path of memories.
Étude Op. 10 No. 3 in E major is a ternary form piano piece, with A–B–A structure. The piece starts
off softly with legato. A peaceful atmosphere is created by the motive formed by narrow range
notes. The arch–shaped phrase introduces me into the journey of reminisce. The bass harmony
played by the left hand acts as an accompaniment and guides me back to the past steps by steps like
footprints. The antecedent and consequent technique also appears in this piece. In the first phrase,
the melody comes in soft and quiet; in the repeat phrase, the volume gets louder and is a variation of
the first phrase. These two corresponding melodies act like the process of recalling the past time. At
first, past memories start appearing in minds; soon, the pictures become clearer and details pop up.
With the uses of dynamics, crescendo in the beginning and follows by decrescendo, the sadness of
the piece is developed. It allows audience to fall into the memories, realising these precious times
have already become the past and they can no longer go back; the decrescendo creates the sense of
regret and sorrow.
The second part, which is the B section of the piece, composes of a totally different melody and it is

Essay On Beethoven Fifth Symphony
The well–known Beethoven's Fifth Symphony by Ludwig van Beethoven whose lifetime was 1770–
1827 is known around the world. Beethoven was a widely known German composer and pianist of
the classical and Romantic era. Along with a strong family history of relatives involved with the arts
and his own personal health issues, he remains the most substantial composers of all time. By
Beethoven's late 20s his hearing began to diminish, and by the end of his life, he was nearly entirely
deaf. He wrote this famous piece between 1804–1808. This piece is one of the greatest known
conglomerations in classical music, and one of the most commonly performed symphonies. The
consonance and the four–note opening concept, in particular, are recognized universally.
This piece unfolds with the main theme dramatized at a very loud and boisterous fashion. However,
the music quickly turns considerable quieter and continues ... Show more content on Helpwriting.net
...
For instance, the music becomes calmer when solos begin. The percussion section furthermore is
quite pronounced at times however it's more in the background for the majority of the piece. With
the main melody begin towards the forefront.
Beethoven conducted through what was presumably the foremost solitary revolution in modern
music. His work was immense, containing nine symphonies, five piano concertos, also alternatives
for violin, string quartets, piano sonatas, songs and particular opera. He modified how music was
collected and accepted. Right to the end, he never ceased pushing music to its limits. The primary
significance of Beethoven's Fifth Symphony is the battle and victory beyond all the odds. The
composition of Beethoven was the beginning purpose for a unique school of music.
I feel Beethoven's Symphony no. 5 draws heavily on symbolism. Including the heroic action of war
and death. Profoundly the dramatic tone of the percussion leaves me with a feeling of

UW Music 162
Last Monday, I got to experience a sensational performance by the University Symphony, composed
by Dr. Jonathan Pasternack, that enhanced my knowledge and emotional state through the
uniqueness of both the symphony and opera act. Having only experienced a symphony once during
the course of my life, I was ecstatic to attend such a soothing and joyful concert. The concert was
fairly short, it last two hours, and consisted of 2 symphony songs and 1 opera act. The first two were
symphony, which were played in a very unpredictable manner. The melody (violins) started off very
slow and quickly increased their tempo. The orchestra performed many instances of crescendo and
decrescendos; this kept the audience on the edge of their seats in ... Show more content on
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The opera in one act was hilarious and made the orchestra a lot more entertaining to listen to. It
made the entire audience feel at ease because the opera was an act accompanied by a consistently
steady tempo from the orchestra: there wasn't a two part section, slow and steady beat, but consist
texture. Overall, the performance turned out a success. Both the symphony and opera act enhanced
the audience with the feeling of warmth and laughter. The symphony made me to realize how each
section is structured and in order, while the opera act was simple, yet made it very delightful to
listen to. Also, It's amazing how different the symphony and opera act turned out. The symphony
followed a four–movement pattern: fast, slow, minuet/dance, fast, while the opera combined both
musical and singing element. In essence, the combination of voice and strings as well as the
unstructured nature and freedom of the opera led me to emotionally connect with all three pieces of
the

Richard B. Klaus : A Listening Guide
In his concerto for trombone and orchestra, Concertino in Eb Major, Ferdinand David composed a
concerto that would forever change the world of trombone. Since its original composition in 1837,
the Concertino has become a standard piece of trombone repertoire. While it is believed that there
have been changes since the original score was written, it still remains to be a staple in the education
of trombone players.
Recent Scholarship Kenneth B. Klaus wrote a book which studies the Romantic Period in Music. In
this book, Klaus states in the preface that the romantic period in music (as well as any other art
from) is not a time where everything is the same, but is uniformed in the sense that they are moving
away from the standard form of ... Show more content on Helpwriting.net ...
He and his sister both were child prodigies, and took their music very seriously. Some have believed
that David played a part in influencing his sister to practice the piano, while others believe that she
had as much natural talent as he did.
Along with violin lessons with Spohr, David studied music theory with Moritz Hauptmann starting
at the age of 13. This is believed to be what caused him to want to be a conductor and a composer,
since he was actively involved in music theory from such a young age. Eventually David began to
study with Felix Mendelssohn who became his primary mentor and inspiration. While in his early
years studying under Mendelssohn, David was an active performer with various orchestras that
Mendelssohn had connections in, but eventually David finally packed away the violin and became
the conductor of the Gewandhaus Orchestra. David was the conductor of the Gewandhaus Orchestra
for the rest of his life.
While in his last years, David was urged by his doctors not to play the violin anymore. His response
was something along the lines of "If I cannot play, then I do not want to live", which shows his
dedication to his craft regardless of age. David is remembered primarily for his transcriptions, a
bassoon concerto, and his trombone concerto.
History of the Concerto
When the Concertino in Eb Major was written, David had just assumed the leadership of the
Gewandhaus Orchestra. The reason that the concertino was written was

A Study on Mozart
Mozart's String Quartet No.6 in Bb Major K.159 3 has a classic rondo form that includes several
repeated parts punctuated by lively interludes in keeping with its allegro grazioso tempo. Using
repetition throughout the composition enables symmetry, but the piece is not perfectly symmetrical
either. The form resolves itself via a reinterpretation of the central, key section. That thematic
section starts the piece, but it does not end the piece. The coda is a completely different phrase from
the main theme, but in its key tonic element. The opening eight bars can be considered the central
phrase and theme, if not the "chorus" of the string quartet. This thematic element anchors the ear and
provides a foundation and structure for the entire composition. The opening eight bars are repeated
when they first appear when opening the string quartet, setting the tone of the piece for the first
sixteen bars. The thematic element is also repeated in the third cluster. Thus, the first three of the
piece's fourteen clusters forms a sort of chapter. From there on in, the eight–bar thematic segment is
played only in singular, rather than being repeated. Even without the repetition, the theme remains
cohesive. Mozart embeds a remarkable amount of symmetry and structure into this string quartet.
The first section after the first thematic element consists of four distinct segments or phrases of four
bars each. Likewise, the second section after the thematic element also consists of four

Analysis Of Jazz Ensemble Concert
On October 26, 2017, in the Laidlaw Performing Arts Center Recital Hall at the University of South
Alabama, there was Jazz Ensemble Concert directed by Tracy Heavner. The night was filled with the
rhythmic groove of jazz. By writing this report I hope to show you, the reader, a new perspective of
Jazz Music. The first piece, Lady Bird, by Tadd Dameron was written in 1939. The Jazz Ensemble
began the piece by putting their full hearts in it. By using repetition of the melody in the saxophones
and clarinets it helps the ensemble build suspense. Once the tenor saxophone comes in with a solo,
the performer runs through chromatic scales smoothly. The ensemble continues with the melody
leading to a heavy melody held in the trumpets until an alto saxophone comes in and takes the
melody away. The rest of the ensemble holds the countermelody that compliments the alto
saxophone well. The alto saxophone passes the melody to the piano where then it was passed to a
trombone. This piece took one melody and bounces it all around the ensemble to show off different
performers abilities with their instruments. The second piece, Makin' Whoopee, by Gus Kahn and
Walter Donaldson was written in 1928. This piece was made famous by Eddie Cantor. This piece
adds suspense in the low brass with a repeating melody in the woodwinds. A trombone comes out in
a solo with a slow tempo and a low dynamic making the sound very legato. By placing a mute in a
trumpet this piece of music ended with an edgy

Beethoven Symphony Musical Analysis
The concert that I watched included the Berlin Philharmonic's performances of Beethoven's
Symphony No. 4 in B–flat Major, and Beethoven's Symphony No. 7 in A Major, Op. 92. Both of
these pieces were written in Beethoven's second period of composition, during which he began to
pull away from Classical ideals (although from time to time still drawing influence from them) in
exchange for what were cornerstones of the evolving Romantic movement. Both of these
symphonies consist of a full orchestra with a conductor. Many tenets of Beethoven's compositional
style manifest themselves in these two symphonies; most broadly the sense of urgency that comes
from his use of almost all musical elements possible, from the vastness of register, to syncopation, to
accentuation and tonal dissonances. In particular, these two symphonies are best observed as studies
in contrast, as they are very dynamically and rhythmically focused; even at the expense of main
melodic ideas. Even though they are not necessarily hallmarks of the organic growth of a thematic
idea, their sheer rhythmic drive and stamina over long periods of time makes them especially
noteworthy as two great Romantic symphonies. The first movement of Beethoven's fourth (Adagio –
Allegro Vivace) opens in a solemn and mysterious way – light on its feet, the string instruments are
tenuous and nearly lack decisiveness in their playing. The piece seems to switch keys quite a bit,
devoid of any real direction, and only as time passes does it begin to solidify and gain traction,
placing more accentuation on individual notes. Finally, it locks into a key, and becomes very upbeat
and triumphant. There are several runs of arpeggios as well as definitive accentuation throughout.
Despite this, there are still very few consistent melodic ideas; rather a melody will poke its head
through and be wrapped up and carried away in a string of runs instead. There is a lot of alternation
and overlap between staccato and legato. It is not quite chaotic enough to be chaos, yet the
movement is not nearly together enough to fit more Classical standards for meter and theme –
emphasis seems to be placed on the dynamism in and of itself.
In the second movement (Adagio) a theme is still no

The Kansas State University Orchestra Conducted
I recently attended the Kansas State University Orchestra conducted by Dr. David Littrell and
graduate student Travis Hale. The orchestra featured four pieces, Orchestral Suite No. 3 in D Minor
composed by Johann Sebastian Bach, Petite Suite composed by Claude Debussy arranged by Henri
Busser, Overture to La Gazza Ladra (The Thieving Magpie) composed by Gioachino Rossini, and
Overture to Le roi d'Ys composed by Edouard Lalo. The first piece of music performed was the
Orchestral Suite No. 3 in D Minor. The melody of this piece was very conjunct and smooth. The
pitches fit together well and were played staccato, but in the Air, portion the melody became more
legato. Since a suite is a collection of dances this is very metric. It is very easy to find a beat and tap
your toe to the beat. Every movement of this suite was very easy to find the beat. I believe the piece
was in a quadruple meter because the continuo, played by the double bass, could be counted into
four. The dynamics were very moderate staying within the range of forte and piano, which is typical
of the baroque period when this piece was written. The piece was polyphonic and each section had
their own parts that worked together to make the piece. The piece could also be considered a call
and response in the Bouree and Gigue movements. The violins and woodwinds would play a part of
the melody and then the brass and bass would come in with a short response to their melody. The
next piece performed was Petite Suite

An in-Depth Analysis of the Use of Specific Musical...
The Romantic Era was a period of great change and emancipation. It moved away from strict laws
by allowing artistic freedom, experimentation and creativity. Romantic music evolved from ideas
established in earlier periods, such as the classical period, and went further through the use of
expression and passion. New musical concepts evolved due to current trends and the music was
deeply personal and nationalistic. Musical concepts including pitch, tone colour and dynamics and
expressive techniques each express the style of the Romantic period in differing ways. These
concepts are exemplified through Nocturne and Valse, both by Chopin.
Nocturne and Valse are both emotionally expressionistic pieces typical of the romantic era, written
by ... Show more content on Helpwriting.net ...
As the Nocturne is played with legato articulation, this creates more freedom and expression. The
Valse however, is played with Tempo Giusto. This means it is much more strict as it must be played
in exact time. This does not allow for variation, unlike the Nocturne, which is common with waltzes.
The smooth character of the Nocturne and Valse is also linked with the inclusion of sostenuto
articulation. The loud pedal creates an overlapping effect, which contributes to the nature of the
piece.
The type of layer relationship shown in both the Nocturne and Valse is homophonic. They consist of
a dominant melodic layer accompanied by subordinate harmonic layers.
Many composers of this time, reached for extremely high or low sounds. This was in search of
increased brilliance and depth in sound. Throughout the Nocturne the broken chords in the bass span
from relatively high to low pitch with the lowest note, an f, in bar 8 and the highest, an a#, in bar 37.
The treble experiences a similar type of pitch pattern, with notes ranging from mid pitch to high
pitch, which can be seen in bars 30–37 of the piece.
Romantic composers revelled in rich and sensuous sound, using tone colour to obtain variety of
mood and atmosphere. Never before had timbre been so important. Composers sought new ways of
blending and combining tone colours to achieve the most poignant and intense sound.
The Piano, the favourite instrument of the romantic age, was vastly

Blue School Analysis
Starting with a mezzoforte trumpet tune reminiscent of classic jazz with a supporting guitar
harmony, "Blue School" by the Blue Scholars feels very bold and brisk. The rhythm enters a few
seconds after on the quicker side of andante –– roughly 97 bpm. MC Geologic, the voice, enters at
roughly fifteen seconds in. The layering of the voice, drums, guitar, and trumpet accents create a
complex and fairly dense overall rhythm. The volume for the remainder of the song sits around a
forte, temporarily having a trumpet blast around fortissimo, and dropping suddenly to a mezzo piano
at roughly three minutes in until 3:22 when the rapping switches to spoken voice and the forte
returns. "Blue School" is able to get away with having more simple dynamics because the vocalist is
able to convey his message through words so he doesn't need to try to express it with different
volumes. Vocal takes precedence in this song, even with its seeming lack of a true melody. ... Show
more content on Helpwriting.net ...
When she reenters, the violin is much more legato, crescendoing as the anticipation of the piece
builds. The main highlight of this song is the alternating staccato and legato sections, which are
often forte and mezzo piano respectively. The bridge crescendos overall, but only from a mezzo
piano to a mezzo forte. The tension builds, but is released in with a sigh–like moment, instead of the
more aggressive chorus that follows immediately after. During the intro and breaks where the
melody get more simple, the rhythm becomes more sparse than it otherwise is in this major piece.
The rhythm is relatively simple compared to "Blue School" or "Fear of the Dark". This piece seems
to lack a definite harmony, although it's at first quiet and simple rhythm and melody are glaringly
easy to pick

Orchestra Concert Essay
The music played throughout all of the concerts adhered to be diverse. The instruments, the
individuals performing, and the conductor all proved to be outstanding. The concerts proved to be
interesting as I witnessed them, first hand. The first concert I attended was performed by the Dallas
Symphony Orchestra. The orchestra had performed Shostakovich's "Symphony NO. 7, Leningrad"
from the Romantic era. The orchestra was a large ensemble (1) containing various instruments that
contributed to the overall sound of the piece. Since the orchestra was a large ensemble, just like the
instrumentation common in the Romantic era, the orchestra was able to perform in a lively, vigorous
manner, probably vivace (2). The orchestra performed tutti ... Show more content on
Helpwriting.net ...
All of the members of the orchestra seemed to be attentive to the conductor, which is important
because every member of the orchestra needs to be aware of what is going to happen next in the
music. The brass and the string had sections in the music, where they were the most important parts.
Overall, the Dallas Symphony Orchestra performed well as a whole group. The second concert I
attended was performed by the Richardson Symphony Orchestra. The orchestra performed
"Passacaglia and Fugue in C minor, BWV 582" by Bach, which is part of the Baroque era. The
string instruments of the orchestra performed with the hair of the bow, in other words, arco (7). By
using lots of motion or most commonly known as mosso (8), the orchestra increased the tension of
the piece. The orchestra played at a pretty fast tempo (9), probably allegro. The piece had a distinct
part where the harp played. The ensemble was large, in order to attain the full sound of the piece.
The instruments played in the orchestra did not comply with the typical orchestras of the Baroque
era because it did not have a distinct part where were the main instruments were the piano and the
bass, or more commonly known as basso continuo (10). Along with the use of basso continuo, the
orchestra used ornamentation by adding grace notes (11) throughout the piece. The Baroque era also
included the doctrine of affections (12), in which the Richardson Symphony Orchestra demonstrated
by playing faster

Hans Zimmer's Time From The Movie Inception
The work I selected is Hans Zimmer's "Time" from the movie Inception. The structure of "Time" is
one of suspenseful buildup. There is a simple theme that is introduced and as the song progresses,
layers are added. The conjunct melody becomes more disjunct as "Time" reaches its climax. "Time"
also has great dynamic contrast, starting with an eerie pianissimo and slowly building up until the
climax where the piece reaches a gripping fortississimo. Finally, because this piece is based on the
concept of time, the instrumentation reflects that concept. About every 30 seconds a new instrument
enters. This constantly changes the timbre of "Time", allowing the listener's emotions to change as
the song progresses. Because of all of these elements, I decided that a light show would best display
all of the extraordinary components that "Time" has to offer. A quiet piano playing only in bass clef
enters with low strings (violoncello, contrabass, etc). The piano plays whole notes while the strings
play barely audible pulsing eighth notes. During these first 30 seconds white light (symbolizing the
piano) surrounds the set to display that the piano is what holds the theme. The white light syncs with
the whole notes, lasting for four beats before it fades out and fades back in again. Beneath the white
light is a deep purple, symbolizing the low strings. The dark purple is faded so one can barely see it,
just like how one must listen for the pulsating eighth notes. Like the white light, the

Writing Using The Music Vocabulary
[Students are writing using the music vocabulary in the written summative unit assessment at the
end of the unit on vocal health. First the students created a list on the white board at the beginning of
the unit of what good sitting and standing posture looks like. The students then wrote a peer review
on a peers review. Student work samples A, B, and C include examples of this peer review that
student performed during lesson one. The students then had to apply the vocabulary to write a plan
for correction for the student. Then in lesson two the students used the vocabulary to describe their
own posture. This assessment of vocabulary was not as effective as in lesson one. Student work
samples A, B, and C include a copy of this self–assessment and the students' evaluations. Then once
again students demonstrated that they understood the posture vocabulary by writing a narrative on
the final summative assessment for vocal. The students wrote how they would explain proper
singing posture to a new student. Refer to student work samples to see student improvement in this
area between the pre and post–test. The students discussed the vocal anatomy involved in vocal
production at the end of lesson two. They then demonstrated their basic recall knowledge (Webb's
depth of knowledge) on their homework assessment for lesson two. In this assessment the students
had to draw and label the section of the body used in resonation, phonation, respiration, stomach,
diagram, lungs,

Franz Chopin Research Paper
Frédéric François Chopin (1 March 1810 – 17 October 1849) was a genius Polish composer and a
virtuoso pianist during the Romantic period of piano mainly creating solo piano compositions.
Chopin is a worldwide–known piano composer who led his era and is nationally known whose
"poetic genius was based on a professional technique that was without equal in his generation." (qtd.
The Romantic Generation p. 284) Throughout his career, Chopin was able to change the perceived
viewpoint of musical articulation and composition. His music contains many mysteries and wonders
that involve a singing legato, creating the sound of unbroken sound from the piano, like a human
voice. Chopin's childhood and education was revolved around the topic of music. He ... Show more
"Musical improvisation is the creative activity of immediate musical composition, which combines
performance with communication of emotions and instrumental technique as well as spontaneous
response to other musicians." (qtd. From Wikipedia). Chopin used many of his techniques of
improvisations to meet the audience's' expectations as well as maintaining the conventions of
musical form. After making his early combined works for piano and orchestra, he didn't compose
any orchestral musics for a while until of his late works of sonatas of the piano and cello. Chopin's
individuality was the advantage of his flexibility of his handling of four–bar phrases as a structural
unit. Many of the works of Chopin was intended for concert performances. Chopin created many
different compositions varying in style and technique including: mazurkas, waltzes, polonaises,
nocturnes, and études. Chopin's mazurkas and waltzes were all in straightforward ternary or episodic
form. Chopin's polonaises showed the development and advancement of his Polish predecessors.
And his 21 nocturnes were posing of great emotional depth despite the fact the structure was so
important in these types of pieces. And finally, Chopin's études were the basic teachings of his own
technique of piano playing. Many of these innovations were sounding as mysterious and beautiful as
they were from Chopin's improvisation

Johannes Brahms Analysis
Johannes Brahms is a German composer and pianist in the Romantic era. He dedicated Intermezzo
in A major, Op. 118, No. 2 to his close friend, Clara Schumann. It was written in 1893 and it is the
second piece of Sechs Klavierstucke. It is considered one of best known creations of his set of later
works, that gives off a profound feeling of nostalgia, mystery, melancholy. An intermezzo is a
character piece which could stand on its own. In this intermezzo, the music flows with romantic
lyricism in a serene manner. He expanded the thematic material and expressed the identity of the
piece using a strict sense of structure, form and intricate craftsmanship. Furthermore, he uses
techniques such as inversion, imitation, counterpoint, and canon and

What I Attended A Concert
I attended a concert on the 16th of November at 7:30 in the evening at the Olive DeLuce Fine Arts
Building to watch the Northwest Jazz and Studio Jazz Ensembles perform. Both ensembles
performed a variety of songs generally under the jazz genre, featuring artists studied in the course,
including Duke Ellington, Count Basie and George Gershwin. Some of the songs performed by the
ensembles included "La Almeja Pequena," "Count Me In," "Rockin' In Rhythm," and "I've Got a
Crush on You." Although there were many diverse styles played throughout the concert, many songs
performed are from the Tin Pan Alley, jazz or swing genres, all of which became popular between
1930 and 1950. The songs performed by the Northwest Jazz and Studio Jazz Ensembles can
collectively be classified as big band era music, including polyphonic textures, complex rhythmic
structures and collective improvisation, the start of a new age of American popular music.
The Northwest jazz ensembles featured songs both under Dixieland jazz and swing genres. Using a
combination of the improvisational, small band qualities of jazz with big band swing allowed
listeners to experience both genres of music, clearly displaying the similarities they share. A
distinguishing feature in Dixieland jazz is the separation of the "front line" (instruments such as the
cornet, clarinet and trombone) and "rhythm section" (instruments such as the piano and drums).
Similarly, it is noticeable in Dixieland jazz is that each

Analysis Of A Band Concert
Jonathan Moules
Mr. P. Smallwood
MUSG 101 Sec 7196
December 4, 2017
Modesto Junior College Symphonic Band Fall Concert
Name: MJC Symphonic Band Fall Concert
Performers: MJC Symphonic Band
Venue: MJC Performing Arts Building
Date: December 4, 2017
Time: 7:00pm
The concert performed Fortress by Frank Tichelli, Parade of the Cliches by Livingston Gearhart,
Military March by Ludwig van Beethoven and arranged by Berkowitz, Symphonic Prelude: Eternal
Father by Elliot Del Borgo, Grand Serenade for an Awful Lot of Winds and Percussion by P. D. Q.
Bach, and Galop by Dmitri Shostakovich. A major work for contest with the rhythmic excitement of
a processional and an ominous sounding melodic quality. The orchestration is beautifully conceived
and the percussion writing is ideally suited for younger musicians. The piece begins in the
percussion very quietly. All three players should be in equal balance. It is crucial that the timpani be
tuned precisely as indicated. The main idea of the piece, first appearing at measure 12, dominates
this section. Careful attention to balance and intonation should be given to the low brass stating the
idea. The "call motif" is developed canonically at the tritone, first as a two–part canon in tutti, then
as a four–part canon by soloists. The soloists should be of equal balance. The "legato theme" is
developed through several keys, and the entire section builds gradually from piano to fortissimo.
The "main idea" is recalled at measures 83 – 87

A Solitary Wish, By Brian Balmages
My favorite part of this performance was the song "A Solitary Wish," by Brian Balmages. This piece
was performed by the Symphony Orchestra, and it was a combination of the songs "What Child is
This" and "Carol of the Bells." I liked the very full and beautiful sound of this piece. It was very
powerful. I especially enjoyed the staccato that the violins were playing at the beginning. In
contrast, I also liked the smooth legato sounds and bow strokes throughout the piece. The cellos in
particular had a very nice legato sound. I learned about various things from watching and listening
closely to this performance. First of all, I learned about the importance of all bows moving in the
same direction and at the same speed. I saw this in the first

Comparison Of Handel's Hornpipe From Water Music Ensemble
Marliz Dume When comparing or analyzing styles of play by different ensembles of either different
pieces of music or the same, one must keep a keen ear to the technicalities and expression attempted
for the listener to clearly hear. In this report, first, two different ensembles playing George Frideric
Handel's' Hornpipe from 'Water Music Suite' is compared and contrasted. Next, yet another
comparison is made between two different ensembles playing the piece written by Ludwig van
Beethoven, Sym. #5, 1st movement(beginning). Finally, an analysis of Caroline Shaw's Allemande
from 'Partita for 8 voices' is made.
Two versions of Handel's Hornpipe were listened to and compared against each other. The ensemble
deemed as using "authentic" period instruments will be regarded as the "version 1", while "version
2" will be by the ensemble using contemporary instruments. After multiple listens of each version,
the listener should be able recognize many differences and similarities between the two versions. To
start with the differences heard, the two versions distinctly play in different styles. In version 1 of
Handel's piece a more staccato fashion style of play is heard in comparison to version 2, where the
ensemble plays the notes in a more legato fashion. At first listen, the difference was very apparent as
in version 1, the ensemble played the notes more sharply or syncopated than in version 2. Another
difference that can be made between the two versions is the balance of the

Reflection Of The Piano
For this concert report, I am going to be focusing on the last piece of the concert, Beethoven's
Symphony no. 5 in C Minor, op. 67. This piece was written in the classical period. I am choosing
this piece to focus on because when I heard it, I felt that I was being told a story of a war and
specifically of a single soldier and his experience. Beethoven's Symphony no. 5 in C Minor, op. 67
has 4 movements throughout the piece. The first movement is Allegro con brio, the second Andante
con moto, and the third and fourth are both Allegro. The first movement, Allegro con Brio, starts the
story off in a battle focusing on a single soldier and his fight. The tempo was quite fast throughout
the movement making the idea of a battle taking place set in. The program has already stated that the
piece was in C Minor, but you can tell that it is by the sense of conflict and pain that is heard
throughout the piece. This first movement has a great variation of dynamics as well. There are long
sections of fortissimo that, to me, sound like the intense fighting, and then there are sections of
piano and mezzo piano that, to me, sound like lulls in the scene where the soldier notices something
very sad right before he is whisked back into the fight. This sense of a fight scene is also noted with
the technical styling of the movement. During the intense fights the melody is staccato and accented,
and during the points that the soldier can take a breath and look around at the horror unfolding

Beethoven Monologuel Orchestra
The Seoul Philharmonics Orchestra were unique and performed phenomenally. When I first started
to watch the orchestra, I thought I was going to be very dreary because it was a performance I would
have to watch. However, Seoul Orchestra was the complete opposite. The concert is called
Beethoven Symphony No.9 and it was a full orchestra. The performers that performed were all
professionals. I chose to watch this performance because Beethoven is one of my favorite classical
composers and when I was testing out orchestras to watch, the Seoul Philharmonics Orchestra from
the beginning, their synchronization unified perfectly.
The orchestra was an enormous size and it is conducted by Myung–Whun Chung. The genre of the
music was symphony. The music was written in the Classical music period. The orchestra included
instruments such as, violins, violas, cellos, string base, flutes, clarinets, oboes, bassoons, trumpet,
French horns, and timpani. The orchestra starts off with a Beethoven's Symphony No. 5. The
conductor give the first signal and ... Show more content on Helpwriting.net ...
The first one is called "Allegro Ma Non Troppo". This movement is performed with a legato style
with a dramatic crescendo. The dynamics fluctuates throughout the piece, matching the style era and
the melody flows throughout the movement. The second movement is called "Molto Vivace" with a
staccato style and a quick tempo, but it transitions into a legato style. This movement changes
timbre and does not have a specific melody. The entrance is relived towards the end however it ends
tersely. The following movement, "Adagio Molto E Cantabile" is different from the first two. It
expresses a soft melody then enhanced by a pizzicato style. The last movement "Presto Allegro
Assai" starts with thunderous sound and restates the tune of the last movement. This movement is
easily recognized by most; calling it "Ode to Joy." In addition, this symphony included a full choir
and 4 opera

Julli Björling Research Paper
Throughout the history of music, classical music period plays an important part in the development
of music. Later on, many singers chose to perform classical music and brought out the beauty of this
music period. Jussi Björling and Franco Corelli were two well–known classical singers in this
period of time.
Jussi Björling was born in 1911 in Sweden. His father, who was also a professional tenor, trained
Björling at his young age. Coming from the music background, Mr. Björling was soon to have his
talent shown to everyone. He entered Stockholm Conservatory when he was seventeen to study with
Joseph Hislop and John Forsell. He was trained to become a professional classical singer. Nine years
later, at the age of twenty–six, he made his debut

Analysis Of Like A Dog Chasing Car By Hans Zimmer
First Selection: I chose to start my first song, "Like a Dog Chasing Car" by Hans Zimmer
(https://www.youtube.com/watch?v=ox7S0Nttbh0) from the very beginning and at 1:50:53 in the
movie/ where he says "hang him from the bridge". I feel like this scene had an astonishing amount
of tension and suspense. Rob Roy was fighting for his life and as can be seen in the movie was
willing to do anything to get away. I thought the song conveyed that sense of running and tension
that the movie showed. In the song I chose, it starts out soft but has a crescendo as the music
continues. I thought this fit with the scene very well, because at first when Rob Roy jumps off the
bridge it is more surprising than suspenseful, but then as the scene continues it ... Show more
I wanted to show the sadness through a piece that everyone did not automatically assume would be
there, but did actually fit the scene. The piece is also polyphonic because of the music behind the
multiple voices. The tempo and the dynamics really do not change a whole lot throughout the piece
till near the very end. The voices and the music all have a decrescendo and the tempo also slows
down quite a bit, this adds a good sense of ending to the piece. So I ended it at this point in the song,
16:01 and this also leads into the next scene in the movie, so the song ends at 1:54:46 in the movie.
The voices are in harmony at the beginning and it shows a clashing of sound and they become
unison by the end. This also shows the winding down of both the scene and the movement, and after
the movement there is a slight cadence. Additionally, there is some dissonance between the voices
that add to the sense of wrong, bad, or just add a more dramatic tone. Third Selection: The second
piece starts 0:24 seconds into the song and 1:54:47/ when Mary is lying in bed and sees Rob Roy for
the first time. Rob Roy is beaten and clearly has not seen Mary in a very long time. Mary is happy,
but I get that the there is an underlying theme of sadness, because of what Mary has to tell him. I
wanted to show the sadness, but also the happiness of them being reunited. The song "Beethoven
String Quartet No 14

Crimson Slides Concert Report
On April 10th I attended the Crimson Slides concert featuring salsa music and a guest artist from
Costa Rica named Leo Rodriguez and it was an amazing experience. I have been wanting to see the
Crimson Slides for a while because I am a big fan of ska music and I figured the slides would
produce a similar sound. The general texture of the concert was polyphonic and I would describe the
ensemble as a brass salsa band. There were eight trombonists performing and they were
accompanied by percussionists in the background. The percussionists were playing various drums,
maracas, symbols, a cowbell, and a woodblock. The first song that they played was very lively and
loud. The song was basically a series of solos and the composer described it as ... Show more
This song also had a series of solos and was played at the same tempo as the last piece. The melody,
dynamics, and key were identical to the last song as well. A song called Mi bendicion by the famous
Luis Guerra was preformed next. I believe the composer described the performance as a bachata. It
was a romantic song that Guerra wrote in dedication to his wife. The song was played in forte since
it was still a very loud performance. But this time the trombones played long legato notes. The
drums just maintained a steady beat while the trombones played the legato notes at a more moderato
tempo. This song had a way more romantic and sentimental feel than the first two performances.
Pampa was the title of the next piece. This song was a waltz. It was amazing being able to witness
the dancers waltz around the stage with such elegance. There was no percussion in this song, only
the trombones preformed. This was also a moderato tempo because it was much slower than the
salsa music but not entirely slow. There were also a lot of long, low notes in this piece creating a
legato melody. Halfway through the piece there was a crescendo into more noble sounding high
notes played at mezzo forte. This song was extremely

jazz Essay
Jazz is the kind of music that makes me want to do one of two things. Depending on the mood of the
jazz, sometimes I feel like relaxing and just listening to the music and letting it run through me.
Other times I feel like getting up and dancing as if I have not a care in the world. The jazz concert I
attended on at SLO Brewing Company on October 6, 2001 inspired me to do both of these due to
the variety used by the musicians in dynamic, rhythm, tempo, and many other aspects of music.
The group consisted of three individuals called the Anthony Wilson Trio. The instruments included
an electric guitar, a percussion set, and an organ. The three sounds were creatively combined to
make for a wonderful concert. ... Show more content on Helpwriting.net ...
The songs would unexpectedly slow down or speed up creating specific effects which embellished
the songs by taking the audience by surprise. The tempo varied between andante and allegro, rarely
speeding up or slowing down to the extremes of the tempo scale.
The beat and meter of each song was fairly difficult to distinguish. The meter tended to be irregular
and seemed to change throughout the song. In addition, the usage of several syncopations made the
task of finding the beat even more difficult, but also may have been more distinguishable to an ear
more musically trained than my own.
The harmony of the music seemed to carry mostly consonant sounds interspersed with a few
dissonant moments. The concert contained both melodic styles of staccato and legato, legato being
slightly more prevalent. There was also a variety of musical texture throughout the concert,
homophonic being the most common, but a small amount of monophonic and polyphonic textures as
well.
A few aspects I found intriguing about the jazz concert included the percussionists use of metal,
bristle–like brushes on the drums which had a calming effect on the particular pieces in which they
were used. The percussionist also used, in addition to traditional drumsticks, a set of drumsticks
with white, soft–looking pieces on the end, creating a muted effect on the drums. The percussionist
also performed numerous

The At The Jacobs School Of Music Recital Hall
For my critique #2, I went to a recital that was performed at 5pm on October 30th, 2016 at the
Jacobs School of Music Recital Hall. The name of the performer was Yuehan Wang. She is a
graduate student at the Jacobs School of Music. My professor told us that if the class is looking for a
recital, this would be an option.
There were two pieces: Miroirs and the 24 Preludes, Op.28. Miroirs was composed by Maurice
Ravel during 1904 and 1905. He was not only a famous French composer, but he was also a
professional pianist. Ricardo Vines, a Spanish pianist, first performed the piece to the public in the
year 1906. My friend, who is also majoring in piano in another school, taught me that there are
usually five individual movements in Miroirs. However, Yuehan Wang only play three of them
during her piano recital. Of the five major segments, Yuehan Wang played Oiseaux tristes, Une
barque sur l' ocean, and La vallee des cloches. While there are various parts in Miroirs, each section
has many different meanings. According to PianoSociety.com, Oiseaux symbolizes "sorrowful
birds", Une barque sur l' ocean represents, "A ship on the sea", and finally La vallee des cloches
means "The valley of bells." Second, Fryderyk Chopin was a Polish composer and created many
piano pieces for solo pianists including the 24 Preludes. Although he created the pieces in 1835,
Alain Jacquon first played the pieces in 2002. There are many individual movements within the 24
Preludes, Op.28 including various

Led Zeppelin Essay
Led Zeppelin
Led Zeppelin were never afraid to try new musical directions, drawing inspiration from such styles
as blues, rock, folk, country (and everything in between!) to create a unique sound that almost defies
description, probably the most appropriate way to describe their vast repertoire is simply as "Led
Zeppelin". During their reign they created one of the most enduring and diverse catalogues in
modern music and firmly secured their status as one of the most influential groups ever (probably
second only to The Beatles!).
Throughout their years at the top they were shrouded in mystery and intrigue, and seemed to leave
behind a trail of question marks wherever they went. They were not a "public" band (they didn't hire
a ... Show more content on Helpwriting.net ...
Compared to previous reels, these exist in almost mixed and completed form. There are however, a
number of differences to report as they mix down the material enthusiastically.
Darlene, played in a happy upbeat major key opens with a "one, two, three, four" allegro tempo
count–in from John Bonham, which gives the song quadruple meter. Very similar to the take that
eventually surfaced on "Coda", it pummels along in friendly conjunct legato form, live in the studio
style. This is clearly a consonant harmony, exemplifying verse and chorus form. Robert Plant's vocal
mix set can be detected after the "Pink carnation and a pick up truck" line. From that point he
accompanies Jimmy Page's delightful fortissimo solo adding, "I don't care what they say, I love you
anyway, I'll drive you wild ." Like most of these Polar mixes, instead of fading out; the homophonic
track grinds to a halt with a tinkling of John Paul Jones' electric piano played mezzo forte.
The version of Fool In The Rain, played in major key show this composition nearing its completed
verse and chorus mix. Some of the studio banter retained from Polar demonstrates the fun
atmosphere that the four were working in. The beginning of Fool In The Rain, is forte, after Page
counts in "two, three" Plant wades in with a "quatro!" giving this song its allegretto quadruple meter.
This mix

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