In this piece‚ Chopin uses a lot of crescendos and diminuendos‚ and there is a wide range of dynamics (from pianissimo to fortissimo) but there are no sudden contrasts. Section A in the piece is quieter than section B‚ which climaxes to fortissimo twice. The structure of ‘Raindrop’ is in ternary form (separated into sections in the form of ABA). In section A (in D flat major) there is a lyrical melody accompanied by quavers in the bass. This section also has its own ABA structure. In section B (C
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Amazing Grace – YouTube Comparison The words to Amazing Grace were written by John Newton (Ferris and Worster). The piece is played in triple meter (Ferris and Worster). It is usually performed slow (adagio)‚ with the volume falling somewhere between moderately soft (mezzopiano) and moderately loud (mezzoforte). The combination tends to give the piece a somber‚ and yet comforting‚ quality. According to our text book‚ Music: The art of listening‚ the melody uses a pentatonic scale‚ which
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and non-restrictive clauses Date 24th March‚2014 Level 2nd Year Bac. – All levels Duration 60 min Lesson Objectives This lesson aims: To have students know the difference between restrictive and non-restrictive relative clauses. To have them also be able to use the relative clauses. Materials / Equipment BB – Teacher’s work sheet – Student’s Book Summary of tasks / Actions Working Mode Timing I- Presentation: I ask four Ss to come to the blackboard‚ one of them is wearing a blue jacket
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‘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
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Dynamics – At the beginning of the piece its supposed to be played quite softly‚ my sheet music says ‘mezzo piano’. The piece gets louder and louder in a gradual crescendo and then roughly two minutes through (depending on how slowly or quickly you play it) there is a diminuendo‚ which is emphasized by the change from arpeggios to chords in the bass part. Tempo – It starts off quite slowly and then picks up on the second line and continues at that speed until the quavers in the right hand begin
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Shostakovich Piano Trio No.2 mov.1 Analysis The Piano Trio No. 2 in E minor‚ for violin‚ cello and piano‚ Op. 67‚ with four movements‚ by Dmitri Shostakovich was written in 1944‚ in the midst of World War II. The work received its premiere in Leningrad on 14 November 1944. After 1936‚ Shostakovich separated his compositions to two parallel sections‚ one for public consumptions‚ the other one for personal expressions. Therefore‚ Shostakovich’s chamber music probably constitutes the most complete
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Trinity College London Practical examination in Piano ATCL Recital Programme Prelude and Fugue in A flat‚ BWV 862 (No.17 from The Well-tempered Clavier‚ Book I) by Johann Sebastian Bach Prelude Fugue Sonata in A major‚ K. 331 by Wolfgang Amadeus Mozart Theme and variations Minuet with trio Rondo Nocturne in B flat minor‚ Op.9 No.1 by Frederic Chopin Waltz in E-flat major‚ Op. 18 by Frederic Chopin Trios Novelettes‚ Nos. 1 and 2 by Francis Poulenc Novelette I in C major
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2102ENG : Soil Mechanics Hydrometer Analysis Semester 2‚ 2012 Introduction: The hydrometer test is an application of Stokes Law‚ which in essence states that larger particles fall more quickly in a suspending fluid‚ while finer particles remain in suspension longer. The time at which the hydrometer readings are taken determines the size of particle remaining in suspension‚ while the reading on the hydrometer determines the amount of that size. Aim: This
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ATCL Recital (Piano) Kwan Liang Hao (Candidate ID number) Date ‚ Time Exam Venue CONTENTS I. JOHANNE SEBASTIAN BACH---------------TOCCATA IN E MINOR‚ BWV 914 (1685-1750) (TIME) II. LUDWIG VAN BEETHOVEN---------------SONATA IN C MINOR‚ OP.13 NO.8 – (1770-1827) ‘PATHETIQUE’ (TIME) i. GRAVE : ALLEGRO DI MOLTE E CON BRIO ii. ADAGIO CANTABILE iii. RONDO : ALLEGRO III. FREDERIC CHOPIN------------------------IMPROMPTU IN C-SHARP MINOR‚
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Symphony Analysis Bars 1-16 In this essay I will be writing about the opening first 16 bars of the Mozart Symphony Jupiter (K551)‚ starting off in C major‚ common time. [1] The opening bar introduces the first Antecedent idea‚ consisting of an octave C in all instruments. This is then followed by ascending semiquaver triplet runs‚ in the strings and woodwind‚ from G to C which have a decoration-like affect. This is juxtaposed against the timpani and the brass still carry on with octave C’s. This
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