style of Paco de Lucia and arpeggios and picking technique by John. Actually in this song John could show off more skills than Paco de Lucia. The second musical piece is called "Chiquito" and it was created by Paco de Lucia‚ a song with a wonderful melody. This song has a rhythm that is always going up and down; starts slow and then begins to raise the rhythm faster and faster. A curious note in this song I saw‚ was the way that John guitar played his guitar‚ for
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notes used are F#‚ C#‚G#‚D# and B#. Melody Chopin’s Raindrop prelude has a conjunct melody (there is only a small pitch change between each note). From the name of the piece‚ Raindrop Prelude‚ the sustained notes are used to act as the continuous raindrops falling. To represent these raindrops‚ Chopin uses descending notes and arpeggios. He also uses septuplets and turns to create similar effects. He changes to the relative minor to create variation. The main melody in the A section is in the right
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around the turn of the century. Perhaps the greatest composer of rag‚ Joplin incorporates the fundamental characteristics of ragtime his piece‚ specifically the technique of syncopation‚ a repeating left hand pattern and a catchy melody. While listening to the recording‚ the melody of "The Entertainer" caught my ear immediately‚ seemingly very familiar. Some of you may recognize the catchy tune of the song from the 1973 Oscar winning-film‚ The Sting‚ or perhaps from attending a piano recital‚ which is
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period therefore changes in how composers wrote and played melodies‚ harmonies and rhythms were enormous‚ creating some characteristics by which romantic pieces can be identified. Some of these characteristics are: * Very expressive- dynamic contrast in both the written and interpreted music; * Melodies with complex rhythms were the main emphasis with rich harmonies under it; * Complex use of chords as an accompaniment to the melody; * Emotional- has a story to tell if played with feeling-
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Melody: In Section A‚ there are stead left-hand quavers supported by a lyrical right-hand melody. This begins and ends with the 4 bar phrases repeated with small variation. In Section B it is also based on 4 and 8 bar phrases with some of them repeated. The melody has a narrow range and it consist mainly of quavers‚ longer notes in the bass and the quaver pedal transfers to the top part. The Cods starts unaccompanied and then it moves to an inner part before the final cadence. The melody also included
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moderate march tempo. The pianist’s right hand plays a highly syncopated melody‚ while the left hand steadily maintains the beat with and “oom-pah” accompaniment. A ragtime piece usually consists of several melodies that are similar in character. The forms of ragtime are derived from European marches and dances‚ its rhythms are rooted in African American folk music. Early jazz musicians often used ragtime melodies as a springboard for their improvisations. The syncopations‚ steady beat
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The soft melody played in piano and “lusingando”‚ which means to be played in a coaxing style‚ convey the delicate and smoothness of the water. The ascending semi-quavers accompanied with a slight crescendo at the beginning of the phrase as well as a two quaver rests at the end of the bar create a rippling effect‚ symbolising the slight waves of a stream. Furthermore‚ the lone plucked pizzicato quavers by the strings add small splashes of colour to decorate the continuously flowing melody of the airy
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Morrow With pencil and paper‚ some of the greatest melodies ever crafted have been written for the big screen. Film music has been here since the 1930’s‚ and continues to influence the way we watch films today (T‚ Whitney‚ 2011). Two themes that have stood the test of time come from one man – John Williams. His brilliance in manipulating musical techniques have been part of the reason film culture has become what it has today. His use of melody and rhythmic techniques in two particular scores – ‘Hedwig’s
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shown in this piece follows the normal binary form‚ but with no introduction and coda involved. The piece starts off with a catchy repetitive melody‚ from 0:00 until 0:19; this section is called A1. It is then followed by A2‚ from 0:19 until 0:40‚ introducing the same repetitive melody as A1‚ only softer. Next‚ B1 comes along‚ with a completely different melody‚ yet somehow carrying the same catchy feel as the A section‚ it goes from 0:40 until 1:00. And finally we have the last section‚ B2‚ going from
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transistor BC548 (T1)‚ timer NE555 (IC2) and some resistors and capacitors. IC2 is wired as a monostable multivibrator with a time period of around 30 seconds. The melody generator section is built around melody generator IC UM66 (IC3)‚ transistor T2 and loudspeaker LS1. Fig. 3 shows pin configurations of IR sensor TSOP1738 and melody generator IC UM66. The power supply for the Fig. 4 shows mounting arrangement for both the transmitter and receiver units on the gate pillars. To achieve a high directivity
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