When I was first presented this task I questioned my ability to describe, and fully understand music. I have had a love for music since I was born, and have been playing it consistently since the age of five. I played alto/soprano saxophone in band for over eight years, and was drum major my senior year of high school. Not once in any of my experiences of living through music have I ever questioned my understanding of it, until that is, I was asked to describe and analyze pieces in the form of a 1,000 word essay. Just by listening to these pieces of music I am supposed to analyze every piece of it? After taking the time to think and preview most of the youtube concert list, I came across the most perfect piece for me. I finally searched “https://www.youtube.com/watch?v=5wVaD2_RmO8”.“The
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They end in beautiful cadences of different chords all at the same time. The simplicity of the text includes, repetition and elaborate polyphonic texturing. Each Kyrie section begins with voices together then breaking off into different male and female vocal timbres of many different pitches. This layering effect ends up building into a sustained level of dense dramatic, polychromatic textures. In contrast, the opening serves to illustrate the confusion of approaching this music from a harmonic perspective. Each voice begins with a repeated, held note, followed by a significant leap upward on the scale, and then descending down again. But none of the parts strictly imitates another, either in rhythm or …show more content…
This piece is predominantly homophonic in texture by assigning each phrase to a different combination in different registers. Emphasis is put on the phrases “Domine fili" and “Jesu Christe" because they are the only phrases that are repeated throughout the two shifts. At this point the music is accented with the chilling impact of all voices coming together as one. Otherwise, there is no overlapping of text, each phrase is presented distinctly and proclaimed sequentially, leading directly into the next. Voices generally sing in the same rhythmic pattern and tend to form different constant combinations as they pass by each other. This is all in effort to avoid the extreme sense of simplicity in style. At “Qui Tollis", the texture lightens to what seems like four voices, in preparation to crescendo into another energetic, forceful “Jesu Christe". “Credo” — In a somewhat similar approach, the Credo introduces little repetition and unusually long downward phrases. An appropriate trace is brought on by a distinctive slowing of the motion and calming of the music. A serious feeling is evoked by the decrescendos of the tenor and bass parts. The strongest emphasis in this particular movement is reserved for the most awaited part, the Resurrection. This is the only extensive repetition of any of the Credo text. The
They end in beautiful cadences of different chords all at the same time. The simplicity of the text includes, repetition and elaborate polyphonic texturing. Each Kyrie section begins with voices together then breaking off into different male and female vocal timbres of many different pitches. This layering effect ends up building into a sustained level of dense dramatic, polychromatic textures. In contrast, the opening serves to illustrate the confusion of approaching this music from a harmonic perspective. Each voice begins with a repeated, held note, followed by a significant leap upward on the scale, and then descending down again. But none of the parts strictly imitates another, either in rhythm or …show more content…
This piece is predominantly homophonic in texture by assigning each phrase to a different combination in different registers. Emphasis is put on the phrases “Domine fili" and “Jesu Christe" because they are the only phrases that are repeated throughout the two shifts. At this point the music is accented with the chilling impact of all voices coming together as one. Otherwise, there is no overlapping of text, each phrase is presented distinctly and proclaimed sequentially, leading directly into the next. Voices generally sing in the same rhythmic pattern and tend to form different constant combinations as they pass by each other. This is all in effort to avoid the extreme sense of simplicity in style. At “Qui Tollis", the texture lightens to what seems like four voices, in preparation to crescendo into another energetic, forceful “Jesu Christe". “Credo” — In a somewhat similar approach, the Credo introduces little repetition and unusually long downward phrases. An appropriate trace is brought on by a distinctive slowing of the motion and calming of the music. A serious feeling is evoked by the decrescendos of the tenor and bass parts. The strongest emphasis in this particular movement is reserved for the most awaited part, the Resurrection. This is the only extensive repetition of any of the Credo text. The