Symphony No.5 in C minor‚ Op.67 Tempo - Beethoven has a sort of obsession with the metronome and used Maalzel metronome markings for all his compositions. The first movement‚ "Allegro con Brio" ‚ is very fast paced. The second‚ third‚ and fourth movements ("Andante con Moto"‚ "allegro"‚ and "Allegro") are also very fast paced. But the fourth movement is a little bit slower than the others. The tempo in the traditional symphonic performance is much slower than the tempo in the contemporary performance
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Hilary Hahn and Janine Jansen are both considered to be violin virtuosos and both of these performances serve as evidence to that claim. However‚ they each make several decisions and perform slightly differently‚ some of which change my opinion of their performance as a whole. On the other hand‚ much of their playing is similar like the tempi at which they perform and certain dynamic decisions. The cadenza of this piece gives the soloist the most freedom in their performance so that section epitomizes
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In Manha de carnival by sigman and bonfa‚ I think there are two musical ideas‚ A and B. Idea A is played from the beginning until 1:19. The rhythm is being repeated by percussion instruments with a flowy melody played by piano‚ brass and woodwind instruments. Idea B begins at 1:20 with a saxophone improvised solo and as it progresses‚ the notes appear to get shorter and scattered‚ similar to how jazz sounds. The sax solo continues until 2:19‚ followed by a piano solo‚ following the same idea B. Percussion
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The orchestral introduction of the song no. 2 mm. 1-18 displays the uncertainty of major-minor mode‚ in which the music sounds as if in an F# minor key‚ but the E major chords in mm. 16-18 that proceeds to the A major chord in m. 19 provide a certainty that A major is the actual key of the music (fig. 15)‚ whereas the submediant chord at the beginning of the song obscures the actual key and provides the song a minor flavor. Fig. 15: The dominant chord in mm. 16-18 in song no. 2. Alfred J. Swan
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The Duet Papagena/Papageno is a duet from Act 1 in the Opera Magic Flute that was written by W.A. Mozart in 1791. It starts in a 2/4 time sang allegretto. It starts with an ostinato ‘pa pa pa’ by the two voices while the orchestra blends in harmony. Staccato is used to give it a joyful‚ jumpy and light feel to the music. The instruments that have been employed have bright timbres and include violins and oboe; there is also prominent use of the panpipe which makes the piece quite expressive. The voices
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Christian Wilson-Zavaleta 10/7/12 Tchaikovsky Symphony No.6 Movement #2 This section in the piece is considered to be the waltz. After the epic and sad first part I did not know what to expect. What makes this section even more guess worthy and unexpected is that this waltz is different from most‚ which are done in threes. This one is a waltz in counts of four (or fives I can’t remember what was said in class and even when I listened I couldn’t tell which it was). So before I listened I pondered
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How significant are circle-of-fifths progressions and minor chords and minor keys‚ in the two movements that you have studied? Throughout the 1st and 3rd movement of the Symphony‚ Mozart implements a circle-of-fifths chord progression on several occasions. The first instance of this in the first movement is from Bar 31 to Bar 34‚ where on the first two beats of every bar there is a descending pattern of diminished chord‚ and on the second two beats there is the circle-of-fifths pattern: A7 / D7
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The clinician‚ Mrs. May‚ began with the first movement of the Holberg Suite‚ Prelude‚ composed by Edvard Grieg. In the beginning of the piece‚ there is a segment consisting of a rhythm with an eighth note followed by two sixteenth notes. Mrs. May decided to have the orchestra play the G major scale with the same rhythm. She wanted to focus on improving the group’s tempo‚ rhythm‚ and markings for the piece. After playing the scale in the ideal tempo‚ the orchestra was able to successfully incorporate
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Sound: The zauerli continues-the key clinks against the statue. Dominant and Subsidiary Contrast: The statue remains the dominant. The Student and her key are the subsidiary contrasts. Movement: The Student takes a key from her pocket‚ moves right to left and places it on the statue base. Character Proxemics and Position: Social‚ personal‚ intimate as the Student moves to the statue‚ then places her key on it. Camera Movement: Stationary. Camera Angle: Eye level. Lens: Wide angle. Depth of Field:
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Tchaikovsky’s piece (movements one and two) had many long lines of melody and very intricate harmony parts. These two things helped move this legato piece along throughout these two movements. The first movement started out very legato and slow with the strings playing piano‚ and the woodwinds playing the melody perfectly. This melody then went to the violins and violas. The melody then got traded from the strings to the woodwinds and then back to the strings. Towards the middle of this movement
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