Chord

can get very sad but yet very bright and happy. The beginning starts with flute playing a motif: Short; Shorter; Shorter; Long The motif it comes up occasionally throughout the course of the piece. It is definitely mood setting. In my opinion the guitar rarely gets the melody. He is more of a replacement of the piano than a soloist instrument. He does have some fun moments but mostly when that takes place he is not being accompanied by the flute but rather playing the transition into the next movement/section like a piano/orchestra plays the transition for the next movement (if attacca). Being a tango the triplet rhythm which is common in the Hispanic style of music. The other rhythms used are a lot of scales runs in the flute and block chords with the guitar. Whenever a big moment comes into the music, no matter the movement, the guitar and flute play big unison moments. During these unison moments it may not sound unison since the guitar is also playing harmonic lines being played. This concert was by far one of the best flute recitals I have been to since my arrival at Texas A&M University- Commerce. This performance was very special because a grad student at TAMUC had the flute player, Dr. Ballatori, as her flute professor when she was in her undergrad. It was wonderful finally being able to hear this woman I have heard so much about. It was also special because you could tell they genuinely loved playing especially on this piece. They were very into the music. At…

a piece in remembrance of her parents married for 50 years who passed away in a fatal car accident. Through its slow tempo which is so powerful and it 's beautiful softer dynamic range to its magnificent chords sung by the choir in much louder dynamic ranges later in the piece shows the power,…

The composition opens in Db major with a tonic chord. Here Debussy has already broken two rules of conventional voice leading; Debussy begins without the tonic note, introducing it later, where the mediant of the chord (F natural) is doubled. This gesture could also be interpreted as opening with chord iii (still with doubled mediant) moving to chord I on the third beat of the bar; however I think this is less likely to be Debussy’s intention because of the use of a Db chord in bar 9 when the…

widely accepted his theories were at the time, however we do know that his theories are widely used today. Heinrich Schenker Heinrich Schenker went to the University of Vienna to study law, under his father’s advising. While there, he enrolled at a conservatory in Vienna where he learned harmony and theory from Bruckner. He did not stay long at the conservatory, however, do to his father’s death, and his need to help provide for his mother and siblings. He was most widely known as a music…

The emotional tension because it comes from a Minor to the Dom 7 to increase the tension, and then resolves in the next measure in an A Maj. The theme is carried out for the rest of the music kind of going while remaining in the Majors, the use of the A Maj in its first inversion going down to an E Maj Dom 7 in the ninth measure, for a full resolution, but as seen in the final measure the starting note in the treble is a G sharp, with the A Maj chord in the bass, and finalizes in the treble clef…

that lasts approximately ten seconds before subduing itself into the first verse devoid of any instrumentation other than drums and bass guitar. The sampled electronic keyboard or piano-like synthesizer sound returns later on in an even more simplified form. It seems to revolve simply around a repeated C that occasionally jumps to a G and resolves the G down to an F before the verse. The verses have a low level of activity which is primarily a trio of basic back beat drums, vocals and…

This piece is based on pitch set classes 01346, 0124, and 014 as well as their respective inversions and transformations. The piece is set in an ABA’-like form and explores the versatility of the clarinet. In the beginning, the piano introduces the theme of 01346 and following measure presents a chord of 0124 with the melody harking back to tonality by using an unprepared suspension. These set classes form the A part of the piece. Measures 3 and 4 presents 02356 in the treble while its…

Polymodality and Dual Modality Concepts and Definitions According to Vincent Persichetti, “polymodality involves two or more different modes on the same or different tonal centers. The modal strands may be melodic or harmonic.” In the most traditional conception a melodic line in order to be considered modal, apart from being diatonic to a mode (traditional or synthetic), needs to contain no alterations. This also applies to modal harmonic content. Persichetti states that “a pure modal…

Melody- There's this basic riff repetition being played. As simple as it may be, there is melodic contour which takes shape when the direction changes. This song uses disjunct motion, the intervals change quite a bit. A lot of the singing seems to be staccato, adding to the long pauses. There's also legato that's connecting the song. Harmony- There is no vocal harmony, when he continues the singing, for a breath of time, it adds an echoing effect. The chords are played in a pentatonic format. …

The change in melody is drastic. The first transition area starts with a D major chord in m. 44, firmly establishing home key. The melody in the transition starts in the first violins in m. 44. This melody contains a lower neighbor motif, moving from an A5 down a half-step to a G#5 back up a half-step to a A5 before descending in an arpeggio, then ascending up to D6, and then moving back down stepwise in a turning motif. The lower neighbor motif was first presented in the Primary area in mm. 1-2…