Music And Harmony In Music

Music And Harmony In Music
According to Goodall, harmony is a word that borrowed by other language to show the well–being,
human warm, agreement or friendliness. In music, harmony is the vertical of pitch with a part of
several pitches sounded at the same time. It unlike rhythm and melody as it was not part of music
from the beginning but it is an upstart. Harmony combined pitches into chords to please our ears.
Harmony is a magic compare to other elements of music. The tonal–gravitational forces for
harmony are more complex and powerful than the melody. It contributes to the effect of the motion
in music and it allows the component to manipulate the human emotion. Besides, harmony is music
coming together with two or more sound to make effect and all around the world ... Show more
content on Helpwriting.net ...
Drone is the constant note just like deum verum the drone just follows the melody and played
parallel. However, this system gradually disappeared and new system is beginning. For an example,
"Sumer is icumen in" has special drone worked independently from the tune. When there are two
different notes played one after another, it is the beginning of chord progression. Chord progression
is the heart of western harmony that the harmony does not stay static and it moves. Whenever the
note in the melody collides with the two supporting drone, three–note chord is created and three–
note chord is the basic of western harmony.
Furthermore, harmony also contributes to the structural design of music. The arrangement of
melodic lends itself to hierarchical design more noticeably than does harmony. This is because
repetition of patterned material more obvious in melody then it is in harmony. The pattern of
frequency of vibration that created within an instrument named as harmonics. According to the
video of Goodall, when plucking a string of harp, it vibrates at different frequencies, it may two or
more different notes offer. It is creating the hierarchical of notes and
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So What Analysis Miles Davis
'So What' Miles Davis Solo Analysis
Miles Davis' solo is very minimalistic mainly using crotchet and quaver rhythms throughout with
the occasional triplet or semiquaver grace note. For the A sections of the first chorus he bases
phrases around the minor pentatonic scale. He develops his opening motif (bar 2 of A1) in bar 4–7
returning to the root (E) in between each ascending then descending phrase going up to the 7th (D)
in the final variation of the motif. The phrase lengths are irregular; Davis generally uses shorter
phrases in the E minor Sections taking a vertical approach to the improvisation then uses longer
phrases in the contrasting F minor section where he takes a more horizontal approach. In A1 of the
second chorus Davis' ... Show more content on Helpwriting.net ...
Davis uses his opening phrase, an upbeat crotchet followed by another 3 crotchets, at the start of
both choruses and continues to use the 3 crotchet pattern throughout the solo for example bar 7 of
A2 in chorus 1. He also uses the pair of quavers starting or ending a phrase motif from 'So What'
throughout this solo for example bar 7 of A1 chorus 1. From the start of this solo Davis' makes use
of the upper extensions starting on the 9th (E) of the D minor chord. He tends to start the majority of
phrases on the 4th of the chord being played at the time and also emphasises the 6th at the end of
some phrases (bar 7, A1 in chorus 1) using the F# over an A minor chord. In general phrases last for
about 2 bars although the phrase lengths increase during the middle of the solo. One of the standout
melodic phrases is the partly chromatic semiquaver/triplet run in bar 7, A1 in the second chorus
followed by the repeated triplet pattern in the following bar. This phrase contrasts with the rest of
the solo and adds variation and excitement whilst moving the solo forwards. Davis uses triplet
scalic/chromatic runs in order to emphasise notes at the start of phrases for example, bar 8 of A1 in
section 1 where the runs leads to the G which emphasises the use of the 11th over the D minor
chord. Miles Davis also uses ghost notes in this solo (bar 6 of A2 chorus) in order to vary the
dynamic levels

Joseph Hayden's String Band Essay
Joseph Haydn was one of the most acclaimed composers of the Classical Era. Known as the father
of the string quartet, he has created music that is withstanding the test of time and only becoming
more eminent in today's choice of literature. Hayden's String Quartet in C Major, Op. 74, No. 1,
Movement III, is one of so many that deserve a closer look and a keen eye to decipher. The use of
elements such as balance, harmonic closure, form and modulations are easy to look over at first
glance. However, through active listening and chord analysis, it becomes easier to absorb the
material and thoroughly appreciate the masterpiece. While looking at the bigger picture, we can see
that the overall form of the piece is ternary with smaller binary sections within. The entire beginning
Menuetto section can be considered an 'A' section, which would make the Trio the 'B' section. This
is considered ternary because after both sections have been completed, the A section is repeated
once again (without its' internal repeats) and ends on a strong tonic cadence without continuing on
to the B section. The A section contains a binary form in itself. This is easily visible with the use of
repeat signs from measure 1–14 (a) and then signifies b from measures 15–60 (also the end of A).
Although beginning material is repeated in this b section, in measures 32–39, Hayden takes the
piece elsewhere with a small scale tonicization of a bVI chord and continuing on in a different
manner than a.

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

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

Persuasive Analysis
Hana T 93
Good tempo and good control veryall. Again, at the octave watch out for the for the higher note.
Make sure it's in tune with the lower note. I know it's hard but try not to rush in the octave, it will
make you life a lot easier. In the up bow staccato, use your index finger to articulate more especially
in this tempo.
Caroline 90
Good overall. Watch out for the indication of the kind of bowstroke technique that Piatti asked for.
Slower practice at the octave area. Think about the connection between each octave. When you are
practicing also try to slide between two chord. Able to hear the slide while in slow practice and
eliminated as you speed up will help you to have a more accurate intonation in the octave area.
Ethan 90
Watch out for the tunning for the chrod. Practice stop and go will help a lot with these chord
progression. In addition, a lot of time if you put more direction towards the gesture in the octave will
help you with intonation. I can hear the hesitation in the octave. I understand it's hard but it will be
more sucessful when you go for it without hestitation. Be fearless.
Good sound
Andrew???
Lydia 90
Good overall. Focus more on the lower notes. Feel the connection between the two chord even when
it's awkward. You have it in your hand therefore when you are shifting it will h be helpful to focus
on your right hand for connection and let your left hand do the work.
Lucas 86
Watch out for what notes you are playing. In the beginning some

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

Cakeout Dagoie Saloon Analysis
The piece "Stakeout" by "The Tango Saloon" effectively uses instrumentation, harmony and rhythm
to convey character in the song.
The prominent use of organ in the piece contributes to the songs tense, foreboding character. The
dissonance created by the organ and the use of a rotary speaker creates a thick, unnatural and
disturbing timbre. The character of the song is also conveyed using auxiliary percussion. The
ostinato arpeggio played on the xylophone in the chorus, along with the tubular bell strikes, shakers
and heavy toms convey this character.
The use of harmony in the piece is one of the main elements that creates character in the piece. The
song focuses heavily on the harmony associated with the ii chord in the song's key of C minor;

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

Global Change Requires Awakening By Frances Power Cobbe
Question #1): In consideration of shifting from a self–interested mindset to a collective attitude
requires challenging the hegemony of social values and norms that dominate our society. This shift
would lend itself to achieving positive progressions within the world. Global change requires
awakening the truth within the human soul and considering how our actions have a consequential
effect on others. As stated by social and animal activist, Frances Power Cobbe "My great panacea
for making society at once better and more enjoyable would be to cultivate greater sincerity." When
considering the barriers that prevent personal and social transformation, one needs to look outside of
their own advancements when considering a more collaborative society. For instance, the word
"terrorism" is a notion that dominates our society constantly. Terrorism itself means "a form of
politically motivated violence" (Richard, 116). As a society we continue to be attracted to concepts
of violence and ignore the underlining issues that prevent achieving global transformation, and
becoming a more connected society. When thinking in terms of a winner and a loser, fear is
perpetuated and creates a sense of competition among society. Look no further of a competitive
country then the United States. The United States has one of the most if not largest powerful
military and has demonstrated the benefits of having a large military and "waging wars around the
world" that instil fear of

Analysis Of The Four Seasons
The Four Seasons is a set of four violin concertos composed by 17th and 18th century composer
Antonio Vivaldi. Vivaldi was born on March 4th 1678, in Venice, Italy and was renowned for his
Baroque styled concertos and operas. He was a prolific composer who created numerous works and
became "a highly influential innovator in form and pattern" (biography.com). He was also ordained
as priest but chose to follow through with his passion for music. Giovanni Battista Vivaldi, Vivaldi's
father, was a professional violinist and taught Vivaldi how to play, but as his violin practice
flourished "a chronic shortness of breath barred him from mastering wind instruments"
(biography.com).
Amongst the most popular pieces in the Classical music repertoire, The Four Seasons is Vivaldi's
best–known work. Composed between 1720 and 1723, during the Baroque period, Vivaldi published
his work in 1725 in Amsterdam as part of a set of twelve concerti. Uncommon to the time, The Four
Seasons were published with accompanying poems, possibly written by Vivaldi, to illustrate what is
was about the seasons that his music was designed to evoke. Vivaldi was inspired by many
landscape paintings by Marco Ricci, an Italian artist of the time, and wanted to represent each
season.
All three movements are written in Ritornello form and are performed in common time. In each
movement there are five instruments used Violin I, Violin II, Viola, Cello, Bass.
The first movement is mainly homophonic and is performed

Descriptive Essay On A Jazz Concert
It was the night of November 17, 2016; the concert was to be held in the concert room of the
Palmetto Center for the Arts, right across from the theater, where they were holding an acting
workshop on the same night. The lights were fully illuminated and glistening on the multicolored
floor. I arrived at about 6:30pm just in time to start my shift as a volunteer usher. The work was
relatively easy; I stood about 10 feet away from the door of the concert hall and reminded people I
saw with any food or beverage that they could not bring it in with them. I believe I only saw and
reminded one person of this rule, but hey, extra credit is extra credit after all.
After about 30 minutes of standing around, admiring the intricate and colorful tapestry of the current
exhibit hanging in the Palmetto Center (I believe it was the work of a man from Africa) it was
finally time for the show to begin. I (unfortunately) had missed the performances earlier that week,
which included a chamber orchestra (which I would've loved to see) on Monday, faculty recitals on
Tuesday, choir and soloists on Wednesday, and (just barely) was able to attend the final day and
performances on Thursday, which were the Jazz Ensembles and Student Led Combos.
Although I do not particularly love jazz as a genre I do have a subtle fondness for it deep in my
heart. Jazz (especially freeform) conjures up images, sights, and sounds of early Sunday morning
car rides with my mother. She'd have on 101.9 as I sat in the back seat and happily hummed along
with the freeform jazz sailing peacefully through the air, filling the car with intricate and fleeting sax
solos with trumpet accompaniment. These memories make me appreciate jazz, although I still don't
love it.
As I was being led into the concert hall, the only thing that really stood out to me was how deep the
stage was. The jazz ensemble was seated in the upper most level, but still needed an acoustic shell to
really project their sound to the audience. The concert hall was a lot larger than expected, with the
seating plan a lot steeper than I had imagined. The audience was mostly a mix of different ages,
there were a lot of (what I could make out) parent there to see their sons and daughters on stage,

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

Homophonic Instruments In Cool Fire
The first movement overall treatment of instruments is conservative throughout Cool Fire. The
texture is primarily homophonic in the first movement with seven main changes of sound in the first
movement. The structure is based on the traditional Classical Period rondo form. Moravec's
harmonies do not follow traditional chord progressions and are varied by using extended chords,
altered dominants, and modal scales. Three modes are used in main melodic sections. The first two
are in lydian–dominant mode. The third theme uses octatonic mode or diminished scale, alternating
whole and half step pattern. The first movement is marked quickly. It is in 2/4 meter and has no
change of tempo.
The unique sound quality of the second movement comes from

The Toccat A Genre Originating Throughout The Middle Of...
Toccata
The toccata is a genre originating in Italy in the middle of the sixteenth century. According to John
Caldwell's definition, "toccatas were the sectional contrapuntal forms of keyboard music derived
from 16th–century vocal forms, including the contrapuntal keyboard ricercare." Therefore, the form
of toccata has a very significant status to explore the keyboard music in Baroque Period.
There are twelve complete works of Johann Sebastian Bach, which use this title, toccata. The
toccatas always have special styles or forms, such as the fugue. John Caldwell has demonstrated that
"Bach's harpsichord toccatas are large–scale works of individual design, incorporating at least one
and sometimes two fugal movements. Rhapsodic figuration is subordinated to passages in regular
rhythm, and these are tightly knit works in spite of their imposing designs." Toccata No.7 in G
major, BWV 916 was one of the seven harpsichord toccatas and was composed in Bach's early
career. Because of the same formal organization and overall mood, this toccata is often compared to
Bach's Italian Concerto BWV 971.
Presto–G major
Form
Closely related key: a, b, C, D, e
This movement from toccata no.7 referred to as "Ritornello form." The initial section is called
Ritornello and alternates with solo sections. Written in the key of G major, it was considered to be
one of Bach 's "sunniest and brightest" keys. The opening and closing presentation of the ritornello
are in the tonic key. The

Summary Of Brahms Symphony No. 4
Brahms wrote Symphony No. 4 in E Minor in 1884. The work was first performed in Meiningen,
Germany in October 1885 and was an instant success because of its masterful composition and
unique style. Brahms's music and his fourth symphony are often viewed as a bridge between the
music of the baroque and romantic era. Although Brahms is considered to be a romantic composer,
his music is unique from others because you can hear both the style of older–era composers and
features of romantic style in the texture of his works. This combination of baroque and romantic
style in his music helps create more balance in the music, which gives it a blend that captured
audiences and still entrances them today. Brahms was also inspired by study of Beethoven's
symphonies for their orchestral color and harmonic structure; Brahms incorporates these features he
enjoyed into his writing. The fourth movement of Brahms' symphony No. 4 is titled Allegro
energico e passianato and is known for its use of the Baroque style of Chaconne and other features
that are found in the Romantic style as well. Some of these include chromaticism, a melody that
jumps between major and minor keys but does not settle into a single mode, and extended
techniques to creature a richness and a wide pallet of sounds.
Brahms was a scholar and had a strong interest in Baroque music. His fourth movement makes use
of the Chaconne style. It is a series of repeated variations and chord progressions, a form of ostinato
or bass

The And Borrowing Of Georges Bizet's Carmen
EXOTICISM AND BORROWING IN GEORGES BIZET'S CARMEN
On March 3rd of 1875, Bizet's opéra–comique, Carmen, debuted in Paris and was received poorly
by its mostly bourgeois audience. While today Carmen is esteemed as one of Bizet's masterpieces, it
was not initially thought as such. In his book, D.C. Parker addresses the fact that opera–goers at the
time were content with watching Italian operas that displayed plots of scandal among the upper
class, but were shocked by the idea of Carmen–a character content with her promiscuous, bohemian
life and with no pretense of being a member of the upper class. Carmen has been described by
Cooper as, "a most sophisticated and advanced entertainment to which not all men would take their
wives and no man would take his daughters". Throughout Georges Bizet's opera Carmen, he
employs exoticism in various manners to captivate his audience with a Spanish and gypsy–like
atmosphere. Carmen proves to be a sublime example of exoticism in opera of the Romantic period
through the combination of stimulating foreign and re–interpreted chords, established motives, the
concept of musical language, and dramatic conflict both in and regarding the opera. Bizet
revolutionized the use of large–scale exoticism and consequently changed the norm of the Opéra–
Comique stage. The opera tells the tragic story of Carmen, a young gypsy girl, and Don José, a
soldier who is enchanted and manipulated by her. For Carmen, men are tools for her personal
agenda–she uses

How Does the Piece ‘Ocean’ by John Butler Use Guitar...
How does the piece 'Ocean' by John Butler use guitar techniques to appeal popular to the 21st
century audience?
The piece 'Ocean' by John Butler appeals popular to the 21st century audience through his variety of
guitar techniques. Butler uses an 12 stringed semi–acoustic guitar with open C tuning and Capo on
the 4th fret giving an open chord of E Major. The song is through composed and consists of several
sections that demonstrate guitar techniques and musical concepts.
0–27sec:
The introduction has a piano volume level with sustained power chords (A5, B5, G#5, E5) layered
behind the C# melody.
Butler uses the guitar techniques of hammer ons, pull offs, finger picking, slides and tapping. These
techniques are continually used ... Show more content on Helpwriting.net ...
The chords are more aggressively played and create contrast in comparison to the prominence of
finger picking in previous sections. This changes the tone colour again to something more
aggressive and what seems to be building up as the song progresses.
The call and response technique is also repeated with the chords above being one of the responses
however the call is a variation of the first call in previous section 28–1.18sec.
It uses the same notes in different patterns, rhythms and orders which creates a similarity for the
audience to compare with but also a technique. Through this technique the audience become more
familiarised but it's not a repeated riff therefore making it exactly what Butler hoped to achieve, a
variation, creating similarities and differences for the human ear to encounter.
Although finger picking is continued throughout this section, it is done so more aggressively. There
is also a country type run that is repeated 3 times throughout this section. This creates a hook and
allows this piece to appeal to more than one genre.
This section concludes with a run or lowering pitch and a repeat of open notes of the E Major open
chord created by the capo:
Each section leads into the next and by this excerpt it obvious that although the section started heavy
it has lowered down to lead into the next section which enhances

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 ... Show more content on Helpwriting.net ...
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

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

Essay about Mozart k310 sonata (2nd movement)
Mozart k310 sonata (2nd movement) Analyzation
The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways.
It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of
antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run
pick–up instead of the 16th note arpeggio pick–up in the the begginning of the piece so we are
prepared for variation in the second statement of the first theme. He then continues the theme with
variation until the consequent phrase which is completely different from the first consequent phrase.
This new consequent has not only faster rythmic movement but also compressed harmonic rythym.
This tension ... Show more content on Helpwriting.net ...
The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and
then I. This is even more confusing because the scale that accompanies the I chord implies V (the
chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii–V–I) but the
exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two
beats create even more prolongation as they nearly modulate. And even after this, the exposition is
not done. There is a two bar codetta (a one bar figure played twice, the second time with variation)
before the strong V7–I cadence with a C pedal tone. This is the first very strong cadence since the
start of the closing material. Since the cadence at the end of the exposition is to C without any hint
of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick–ups are a C
arpeggio and the first bar looks and sounds like I and shows no indication of a 'Bb' or any other
scale alteration. The opening of the developement is also a textural change but seems to resemble
old material in its melody. Both the first theme and the second theme have similar figures to the new
material. The developement starts with tonal movement in each of the first two measures, I in the
first measure and ii6 in the second. In the third bar the harmonic rythym increases with a I64 for the
first two beats and a V7 in

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

Analysis Of Happiness Is A Warm Gun
Fast–forward three years and it is easy to see what dramatic change came about in The Beatles'
style. In 1968 The Beatles released their White Album. This album took them into a transcendental
era of the psychedelic movement, where drug–fueled experimentation with heavy beats and intense
topics became the focus of their music. "Happiness Is A Warm Gun" is a musical masterpiece that
combined The Beatles' new found music style, edgy, risky lyrics, and an underlying undertone that
many viewed as inappropriate for the public audience.
The song opens musically with only a guitar playing a riff behind the vocals. The song sounds to be
in C–major, but the opening sounds to be in a minor key. This song seems like it is three different
songs woven together through intense beats and time signature changes. The beginning is 4/4 but
changes to 3/4 and 2/4 throughout the songs entirety. If I separated the song into three parts,
different tempos and instruments can be heard. In the beginning, only a guitar plays, followed by
drums and short chord strikes to create a chopping noise. The second part, characterized by the
tempo change and an intense guitar solo, adds a new percussion sound through the slashing of
cymbals and deliberate pedal stomps. The third part shows another signature change back to 4/4 and
a milder use of the cymbal, while still maintaining the chord chops. The riff from the introduction is
maintained throughout the whole song.
A syncopated melody can be heard

An Analysis Of Claire Boucher 's New Music
Since she started making music in 2010, Claire Boucher's Grimes project has made some of the
oddest pop music imaginable, and since she started making music in 2010, the music has only
increased in quality. From 2010′s three lo–fi, darker projects of Darkbloom, Halfaxa, and Geidi
Primes, to 2012′s ethereal Visions, to her recent singles, last year's trap–influenced "Go" and this
year's moody synthpop jam "REALiTi (Demo)", Boucher seems to have been slowly moving
towards a mainstream pop presence, if only on the periphery. Art Angels is the newest progression
towards this goal, lying closest to the center – it seems to be Boucher's least experimental record
thus far, if only conceptually. This change has been met with varying degrees of ... Show more
It's why this album feels so polished at times – as a vocalist, Grimes is taking every opportunity to
add melody to the songs. In "Flesh Without Blood", the triumphant lead single, her voice never
rests, dancing in the verses, fluttering in the pre–chorus, and finally exploding: "Now I don't care
anymore / uncontrollable." "Kill V. Maim" is another example of a song that would be quite boring
without Boucher's relentless experimentation with vocals: her ratty, filtered voice whines the verses,
occasionally lapsing into a grotesque scream. Every five seconds, she's changing her melody, her
voice, and the instruments around her, and it's all set to a very clearly defined chord progression, one
that doesn't have to be beautiful as long as it's catchy. The result is that Art Angels is a grower of an
album – at first listen, one might only hear a single element of a song, but more and more of
Boucher's lovely experiments will leak out with more and more listens.
Truly, this album is much more eclectic than Visions, and Boucher pulls off each little genre
experiment fantastically, adapting the genres to her style. With its mantric vocals and stop–and–go
guitar riff, "Artangels" sounds like a Jagwar Ma track at first – however, Boucher clogs this
framework with little sonic Easter eggs, keeping the beat interesting

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

Music And Perceptions And Emotional Responses
In the last decade, there has been much debate over the value of musical training in schools.
Although some people claim that music education in schools is a waste of time and resources,
research has found that musical training can improve various cognitive processes and skills, such as
the development of language, reasoning, pattern recognition, and memory. These skills can translate
into other school subjects as well. This paper explores the relationship between music and
perceptions and emotional responses, and also examines the cognitive benefits of musical training.
In order to understand the relationship between music and cognitive processes, it is important to
understand how music is perceived and processed in the brain. Musical perception and cognition are
both actively constructed by the listener, as opposed to being passively transferred from the
performer to the listener (Iyer, 159). There are three levels of musical perception: the raw
psychophysical perception of tones, the perception of abstract qualities of tones apart from their
source, and the apprehension of environmental objects that give rise to the sound events (Handel,
181). According to Stephen Handel, the first level of perception is when the listener first hears and
perceives a musical stimulus such as melody, harmony, tonality, rhythm, meter, and form. The
second level of musical perception is when the listener perceives abstract qualities of the musical
stimuli. The final level of musical

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

Ficial Metro : Last Light Soundtrack
The official Metro: Last Light soundtrack was composed by Ukraine composer Alexey Omelchuk.
Omelchuk is famous for composing music for video games such as Alexander, Cossacks II:
Napoleonic Wars, Heroes of Annihilated Empires, S.T.A.L.K.E.R.: Clear Sky, S.T.A.L.K.E.R.: Call
of Pripyat, Metro 2033 and most recently Metro: Last Light. He was working with GSC Game
World, and after the company was dissolved in 2011, he went to worked one of its successor 4A
Games. The original soundtrack for Metro: Last Light with 64 tracks, more that 2 and a half hour of
music was released by 'Sumthing Else Music Works ' in 2013.
The majority of the music is orchestral–based with electronic elements, as well as dark ambient,
electro rock (These tracks ... Show more content on Helpwriting.net ...
So the music is trying to mimic this, with a lots of metaphor, and parallel ideas. For instance one of
the main instrument the composer uses the most, is the acoustic/electronic guitar (the main/solo
instrument of the main theme is the guitar as well), as the guitar is the most important thing of the
people in the Metro (we could see a lot of guitar in the Metro game 's spiritual successor the
S.T.A.L.K.E.R. series, the guitar soon became the symbol of hope, in both series.)
In term of melody, the whole soundtrack offers us, a big selection of different melodies, which are
heavily influenced by the main theme. We can put it that way, most of the track, are heavily
influenced by the main theme, making a huge 'idée fixe ' motif–chain. The 'idée fixe ', is a leitmotif
kind of thing, but also very different from it. The leitmotif was basically invented by Richard
Wagner (1813– 1883) during the composition of 'The Ring ' tetralogy, as he was using motifs for
every person, object, feeling creating a huge composition of melodies connected to each other, under
the concept of the 'Endless Melody ' (This concept was invented by Wagner during the composition
of 'Tannhäuser ', the basic idea was to create a new opera–standard, not using the aria–recitativo,
structure, instead there are no dividing line at each area,

Examples Of Harmonizing A Harmonic Melody
How to Harmonize a Tonal Melody
Ultimately, harmonizing a melody is a matter of personal taste. Nevertheless, although you have
some leeway in the selection of chords, a certain standard of musical communication, known as
style, prevents you from exercising complete freedom.
Harmonizing a Chorale Phrase
The following general principles will guide our choice of chords for a Chorale harmonizations as
much like those of Bach as possible:
1. You must use half (I–V, IV–V, or ii–V) or authentic (V–I) cadences for the final two notes of each
phrase.
2. You should use circle progressions throughout in each phrase. Circle progressions are more often
longer and more abundant near the cadence than at the beginning of the phrase.
3. Harmonize each melody note with one chord. It is possible to repeat chords occasionally, but
adjacent repeated chords are usually in different ... Show more content on Helpwriting.net ...
A typical melody will have no more than one or two structural tones per measure. (The other notes
are connecting or embellishing notes.) The chord you apply to a structural tone should include the
structural tone as one of the three notes of the basic triad.
Now comes the work of fitting chords to these structural tones. We could apply one of three chords
that include the structural tone in the triad. As we continue on in this fashion, we can come up with
any number of interesting chord progressions. Once you've assigned the chords to the structural
tones, return the melody to its expanded state. Note that when using the structural tone method,
there is no right or wrong way to decide which chords to apply Other Tips for Harmonizing a
Melody: There are other points you need to consider when fitting chords to a melody
– Try some common chord changes first. You'd be surprised how many melodies fit with the I–IV–V

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

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

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

Summary Of ' Beethoven ' Sonata First Movement '
CHEN, YIHAN
T252 Conditional Pass Analysis Paper
Fall 2014
Beethoven's "Waldstein" Sonata First Movement
Piano Sonata No. 21 in C major, Opus 53 is one of the most technically challenging and
compositionally ambitious piano sonatas by Beethoven. The name of the sonata, "Waldstein", is
derived from Beethoven's dedication, Count Ferdinand Ernst Gabriel von Waldstein of Vienna, a
long time close friend and patron of the composer. Composed from 1803 to 1804, it is one of the
most important pieces of Beethoven's middle period and surpasses all the earlier sonatas in scope,
power, and energy. Like many other major pieces around the time the piece was composed,
Beethoven was constantly augmenting the sonata form, giving significantly more ... Show more
The key characteristic of this five–note cell is that it is entirely composed of step–wise motion. This
feature would affect the melodic and harmonic choices of the movement's composition, as the
movement is almost entirely built on step–wise motion. Because of the step–wise quality of the
movement, the primary harmonic motion is an oscillation between tonic and dominant chords.
The movement begins quite solidly in C major as the first component of the theme (figure 2), which
we will call component A, is a repeating eight note C major chord which hammers the tonic tonality
into the listeners' minds. This component ends with an ascending three–note step–wise motion in the
right hand into the dominant of the key, with the second note being a sharpened–F, temporarily
tonalicizing the dominant, suggesting the idea to the listeners that the beginning C major chords may
instead be serving a subdominant function to G. In measure 3 and 4, the left descends into B,
serving as a bridge to the upcoming flat–VII to smooth out the jarring key shift. We will call the
right hand motif in measure 3 as component B and the one in measure 4 as component C. All three
motifs would come back later as important building blocks of the movement. Beethoven confuses
the listeners further as we progress into measure 5. The first four measures are repeated, but the
music

Composer Franz Schubert As A Master Composer Of Songs
Viennese composer Franz Schubert is often regarded as a master composer of songs. He is also
known for creative and unexpected movement between keys in his compositions. Dying at a
tragically young age, Schubert managed to release an enormous body of works, publishing over
two–hundred songs while alive. Despite this already impressive output of songs, nothing stopped
Schubert from composing symphonies, chamber music, and solo works as well. Close analysis of
his music reveals how skillfully Schubert was able to set text, move fluidly to foreign keys, and
much more. In this paper, Schubert 's vocal piece entitled Erlkönig and his work for solo piano,
Moments Musicaux 5 in F minor, will be explored more deeply The text in Erlkönig begins and ends
with a nameless narrator. He opens, setting the scene, a father rides with his sick child in the night,
racing to a nearby farmhouse to get help for his son. "Schubert 's repeated octave staccato triplets
suggest the hoofbeats of the important fifth character, the horse, the vehicle of hope and deliverance;
the four minutes of his song convey the urgency of a ride against an indistinct but baleful force"
(Bamforth). During the ride, the son recounts his hallucination of the Erlking, the king of the elves,
chasing them to his father. The boy says the Erlking is promising the boy him, games, even his
daughters, but his father tries to calm him, sying these are only wind rustling in the leaves and
silhouettes of willow trees. In the

Music And Its Impact On Music
Since the early days of human existence, sweet sounds of music have brought joy to the human race.
However, throughout time, music seems to have taken a bit of a detour as progress is concerned.
Music gradually became more complex and advanced as the centuries progressed. On the other
hand, recently, music seems to have deviated from its steady ascension toward the next, more
advanced stage. Has there been a recession in the complexity and overall "magic" of music?
Personally, I believe that there is a lot of truth to this concept of "relapse". Over the course of
musical expression, inventions of different instruments and music theory concepts were created and
used to benefit the science and progression of music through time. Throughout each period of music
that we studied, the music changed based on the culture and the technology that was prevalent
within its respective time period. Music found in the baroque period, for instance, is very complex
and involves the use of several different musical voices. When we look at a lot of the mainstream
music of modern day, it is very easy to realize that we have definitely taken a step backwards.
Nowadays, the popular "musical artworks" that are being released lack complexity or any kind of
variation at all. Modern pop music has really hit a stand still. One of the most characteristic aspects
of a modern pop song is the repetition that is used throughout most songs. Honestly, anyone who has
a decent ear for music

The 80s Research Paper
The 1980s are pretty interesting to look back upon in terms of what happened to the music industry.
The decade cradled the beginnings of electronic music and produced the first commercial compact
discs (CDs). At the very least all rock bands were expected to house a vocalist who could sing notes
into the stratosphere or a virtuosic guitar player who could play at inhuman speeds. Michael Jackson
was reborn as the King of Pop, and Madonna would follow him in her own right. There was a lot of
dancing, a lot of leather, and a lot of Aquanet. This was pop culture, but the most interesting thing
about the 80s didn't happen until 1991, because as far as I'm concerned that's when everything "80s"
met the guillotine.
In 1991 Nirvana released their breakthrough album Nevermind closely preceded by the album's
defining hit single "Smells Like Teen Spirit." The mainstream music audience wouldn't have heard
anything like Nevermind up to the point in time when it was released on September 24, 1991. It
created a schism in pop culture between decades. Frontman Kurt Cobain was the main creative
engine for Nevermind and the majority of Nirvana's catalog until the band met its end in 1994 due
Cobain's death. Understanding Cobain's tendencies as a writer of music, and where they may have
come from, is crucial to understanding why Nevermind is so different from what came before it.
On more than one occasion Cobain cited The Beatles, and bands in, or stemming from, the punk
rock genre as major

How Does Beethoven Use Gcse Form In Symphony 8
Introduction One of the most crucial composers throughout the transition of the classical era to the
romantic era was Beethoven. He was pronounced as the greatest living composer by the time he was
50. Throughout his lifetime he had published 138 compositions and after his death there were over
200 more compositions published. This is an amazing feat as he had started suffering from hearing
loss at the age of 26 and by the time he was around the age of 46, he became fully deaf. He created
some of the most famous pieces of which includes Fur Elise, Symphony No.5, and Symphony No.9.
This topic interested me because of how he was able to create spectacular compositions even while
being affected by hearing loss. I also realized that I did not ... Show more content on Helpwriting.net
...
This theme begins with a legato and lyrical style that contrasts the staccato style of the first theme.
The violins are used as an accompaniment of the melodic exchange between the flute and the oboe.
This exchange creates a back and forth movement between the two instruments. The melody begins
with a rising fourth which is a link to the first theme. The accompaniment plays staccato arpeggios
which gives a reminder of the last measure of the first theme. From measure 65, the use of
syncopation previously heard measures 57 to 58 gives rhythmic drive through this section. The
violins then take the lead and restate the theme with the flutes and oboes answering. Beethoven's use
of diminished chords, in measure 65, and adding emphasis using sforzando adds more the dramatic
nature of the passage. In measure 69, the strings have rising eighth notes with semitones. A few
measures later the flutes and oboes double the violins' rising eighth notes which again underlines the
importance of the rising semitone. This last until measure 77 as the second theme returns to a soft
ending as the lyrical phrases played by the violins, oboes, and flutes are now played by the cellos
and double basses. The codetta, or closing, begins at measure 88 and lasts until measure 110. This
section creates a conclusion by combining familiar elements from the first and second themes. In
measures 94 to 99, the strings have tremolos which gives a sensation of the music being at fast
rhythmic tempo and in measures 100 to 109 the woodwinds and horns have slurred phrases which
resembles the lyrical phrases played in the second

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

Analysis of Firebird by Stravinsky Essay
Analysis of Firebird by Stravinsky
Immediately we are introduced to the leitmotif, major and minor thirds, within a tritone. This returns
at bars 15 – 18 and at various other parts in the suite of which I will later elaborate. Within the
opening few bars the pizzicato and legato combined in the cello and bass section produces an
ominous opening to the work. The base drum roll and the murky off beat and horn entry at bar 5
makes it clear that it is evil magic. One of Stravinsky's traits that often appears is how he uses
tritones to represent evil magic, e.g. f# to C, shown in bars 11 and 12, and more simple harmony and
chord progressions, e.g. dominant 7ths and 9ths to show good magic which can bee ... Show more
The bars silence leaves the audience in suspense wondering whether or not Ivan has managed to
catch the Firebird, before a certain elegance added in the variations which has a waltz like lilt to it.
The high register, quick rhythms and simple harmony represent good magic and has an uplifting
feeling to it. The imagery is quite clear of a bird teasing Ivan mocking him as he can't quite catch
her. In bar 3, the tonality becomes less clear, and a whole tone scale is used, this is yet another of
Stravinsky's traits, he pushed these boundaries where other great composers were scared to use it.
Stravinsky uses the piccolo to represent the Firebird taking to flight; this can be seen in 2 bars before
figure 11. During the coda there is a feeling of speeding up without actually doing so. The flurry of
descending triplet semi–quavers could represent the Firebird falling slowly down, into Ivan's clutch.
Stravinsky's use of orchestra shows that Ivan finally manages to catch her in the pantomime.
(Pantomime used in the traditional sense, miming). The hand stopped horns in figure 20 represents
Ivan actually capturing the Firebird, there is a first inversion augmented 6th and tritones heard three
times during figure 20 this is the firebird trying to escape from Ivan's tight clutch. We hear once
again the original leitmotif in semi–quavers, retrograde inverted and simply retrograde.

Music And Harmony In Music

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