country blues. The instrumentation (a solo cornet‚ piano and single artist) was somewhat avant-garde for the time. There was a narrow range to the melody. The melody was simple and refined. The scale type was the blues scale‚ which fuses a major and minor scale together. The motives were not even one measure long but repeated every verse. The melody was more diatonic and had less motives with larger intervals. Harmony was not present in the song and all harmonic rules were followed. The rhythms
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Analysis Harmony/chords: What chords are used? Do they stay in the key? How are they voiced? How often do they change? Melody: How does it fit together with chords? Does it go up‚ down or remain static? If sung‚ how does it work with words? Structure: Does it follow the standard format‚ or does it deviate somewhere? Do the verses repeat the same melody‚ or is the singer improvising each verse? Does it use call and response or other standard structures? Lyrics: How does the
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of this piece. This is mainly because this piece is focused on celebrations and joyous occasions. However‚ the dynamics for this piece do shift from pianissimo to forte several times to help create contrast. Once again the solo violinist holds the melody while the full orchestral accompaniment holds the harmony. The final movement for this work concludes with the overwhelming feeling of excitement for what spring will
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The jazz style that “Take Five” resembles most is cool jazz or west coast jazz. This song features light and soft tones with simple melodies. This song has a slow tempo with a smooth and relaxed feel to it. These are all important characteristics of cool jazz. “Take Five” has a unique time signature that is not found in cool jazz or any other types of jazz. This song does have some swing influences as well as the classical influences that Brubeck brings to the music. “Take Five” is an interesting
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guitars started easing the music back to a lovely melody and it ended with the flute blending with the piano magically. The second song is “Rainy Day Tuesday” This mellifluous melody is composed by Tan Ming Tuan and lyrics is written by James Guk. This upbeat piece is inspired by another local band Amnesia Haze. In this song‚ an English style consonance set the upbeat mood at the beginning of this song. A piano and guitar then alternated the melody of the song and built up the “lazy” mood‚ making
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section had a heavy‚ accented bass line‚ and the cymbal clashes and timpani added in to give the piece a lot of power. Then the French horns took over with the melody while the high woodwinds played very dissonant chords. Up until this point‚ the piece was dominated by the wind section of the orchestra. Then‚ the lower strings took the melody and accompaniment and played in a very smooth‚ legato style at a mezzo forte volume. After that feature‚ the strings and winds became intertwined‚ and the piece
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unforgiving world. The Moss brothers consist of Big Mat‚ Melody‚ and Chinatown. Each born and raised in the deep south of the United States. Born to work and toil in a Sharecropper’s world‚ the Moss brothers struggle to make do. Big Mat is the oldest of the three Moss brothers. He’s recognized for his physical strengths‚ as a provider of the Moss family and his short temper. Melody is the middle half-brother of Big Mat and Chinatown. Melody is known for his musical talent‚ and his developing love
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vertical placement of notes forming chords‚ Javanese Gamelan music creates consonance in the formation of horizontal melodic lines. This creates a sense of tension and release in the music‚ which is highly characterized by Javanese Gamelan music. The melody of a single instrument cannot be conceived as separable from the whole sound of the ensemble. When listening to Javanese Gamelan music‚ one gets a sense of oneness amongst the instruments‚ as each melodic line and rhythmic pattern is treated equally
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major key and set in quadruple meter. It has a wide range and an ascending melody. There are brief cadences and the section grows in a crescendo. The loudness and energy of this section holds the attention of the listener and creates a proud and joyful mood. The Allegro section begins at a mezzopiano dynamic level‚ and is in triple meter. This section is played in a major key‚ and is largely conjunct in movement. The melody has an ascending shape as it moves in a crescendo. The fast tempo of this
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Throughout the years of piano and cello practice‚ I never truly appreciated the musical style of the Romantic period. The dissonance created by contrasting melodies and key changes starkly contrasted the lyrical and cheerful melodies of the Baroque and Classical period. Often classical music as a genre sparks recognition of composers such as Bach‚ Mozart‚ and Beethoven – neglecting others like as Mendelssohn and Chopin. This semester‚ Exploring Music caused me to explore new methods of musical thought
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