Glissando

in front of the remaining trumpet player, who is designated as the leader. The Trombones will set up in the same fashion, but mirroring the Trumpets. the Trombones and the Trumpets should be no closer than 5 feet apart. Similar to the below diagram. The followers of each group must have a practice mute in, while the leaders of the group should be without mute, and throughout the entire piece, the trumpet followers should stay in half-valve. To explain the notation: The Leaders have many phrases written in standard notation, with places indicated to hold the note and wait for a specific requirement to be fulfilled by the followers. The followers have the same phrases, but instead of pitch notation, they will have lines indicating glissando between pitches, The glissandi do not have to be smooth, but should never be rearticulated with tongue. At the held notes, the followers will have either a chord or a unison which is indicated across all parts. Each Phase (which there are 3) is to be determined by the Trombones. They will cue each ending and beginning of phases as marked in their music. While the trumpets will never (or should never) finish their parts, the Trombones will. Phase 1 Either before this phase or during it, the person blowing up balloons should have blown up 3 either white or Black 24 inch balloons and be remaining in the very back of the hall. The leader of both groups should move at their own uncoordinated, but steady, tempos and should start the…

to in class. As I heard it, it seemed to be a kind of theme and variations theme, with small differences in each repetition of the theme. After the prelude, the fugue had its own motives with some unique glissandos as well as upbeat and fast tempo-ed melody. The first theme from the prelude seems to come back in the fugue which is a rare occurrence but as I researched it this was Bach’s intention. This piece seems to be two sided, but flows together because of the connecting theme or motive that…

in pianissimo. 1.21: The quartet sing the faux chorus once again, and on the word “beam”, a new vocable is introduced as they sing “Ooahh” which consists of two notes sung in harmony and the singers slide between the two using glissando. 1.28: The “bum” vocables are sung similarly to the intro, but having changed out a few notes. There is also another vocable added to the background as some of the singer are singing “mmm” in harmony simultaneously. This is sung in glissando. There rhythm is…

boost the confidence of the listener. A piano glissando immediately starts the song and exuberates a sense of delight, and acting almost as a flashback to a blissful memory. The intro music sounds like a church choir praising, and sounds almost angelic to play up the pureness of young age. Immediately the high notes create a sense of joy and entertainment. The lyrics “you can dance, you can jive, having the time of your life” acts to boost the confidence and gives the sense that the aura of a…

Throughout, this whole recording there is only one voice that is presented and the vocal harmonies in the recording are kept very sweet constant by Ray Charles, himself. The sound of the voices is constantly changing from low to high pitch as he sings the verses, which shows at the beginning of recording he elaborates the notes on "Well... I got a women” is shouted. Throughout this recording, Ray Charles voice is melodic and also uses blues vocal techniques, for example one technique that is…

IV. Second Movement The second movement is in a compound ternary form. It is in simple quadruple time in E major with the tempo of Adagio. It is nocturne-like (Zi, 2001, p. 94) and it’s meant to give the audience a peaceful feeling. Introduction: The opening of the second movement has used muted strings, woodwind, clarinet and bassoon. These instruments slowly modulate from the previous C minor to E major using chromatic notes. Fig.16 Exposition (A): In preparation for the first theme to…

Throughout the work, Wagner implements multiple musical techniques to make his composition “click”. From the start, the listener is called to action with shrill trills and glissandos in the high strings and woodwinds, creating a sense of heightening anxiety. Conversely, when the main motive sounds, Wagner utilizes French horns, trombones, and trumpets to convey the entrance of the heroes. In doing this, Wagner shows the sweeping effects orchestration can have: “…instruments [can] create a mood…

The strings came out very strong and the theme of nature was brought back to life. The clattering sounds are the violas and cellos using the bow technique of Col legno. The trio was tender and even a tipsy feeling, with glissandos for the strings and dissonant harmonies for the winds, and then the heroic feeling triumphs once again ending the second…

accompaniment to dances. Ceremonial music is sacred music that is preformed privately, solely at ceremonies such as sweat lodges, sun dances, and midewiwin. Each song or part of a song is sung for a specific part of a ceremony, and although short, are repeated numerous times. The style in which First Nations singers sing varies between performers and nations, as does the music sung. Most songs have a single melody that is sung by either an individual, or a group singing at the same time.…

Attias on alto saxophone; Thomas Heberer on trumpet, Kirk Knuffke on cornet, Ben Goldberg on clarinet, Omar Tamez on guitar and percussion, John Hébert on double bass, and Sam Ospovat on drums. The welcoming composition called “Big Weirdo” is a notably orchestrated avant-garde piece that gains a scintillating epic pace after the improvisations of Heberer, whose self-confident dialect got prompt responses from the bandleader, and Attias, who strolled unaccompanied before being joined by…