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    Menuet Vs G Major Essay

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    explicitly, to ensure the performer and listener understands the tonal key as well as presenting irrefutable evidence of G major’s presence. For the most part, scalar passages are used to transition to the end of the first half. It is not until the second half until a shift in tonality occurs. Not only does the G-sharp in measure eleven signify a modulation to A, it demonstrates the need to move forward. Bach carefully crafts the shift from G major to G major to D major to A major and eventually to a tonicization of E, hinted by the D-sharps of measures thirteen and fifteen. It feels like a tonicization because the sequence of notes do not cadence but rather let time pause for a moment. As mentioned with rhythm, the dotted quarter note in measure sixteen is one of the longer duration of notes, signifying that sense of breath, a sense of rest. Immediately following afterwards is the loss of D-sharp, resulting in the loss of the E tonicization. F-naturals in measures seventeen and eighteen hint at something new with the key, but what is odd is the C-sharp in measure nineteen. Why add the accidental if it is not in the key signature? Simply, there is a secondary dominant leading to the dominant. This is all a big V chord leading to the second half of the second ending, preparing us for the next tonal system. In the second Menuet, the note is B-flat, establishing G minor. Like with its first counterpart, Bach states what key the movement is in without ambiguity. However, unlike…

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    Mozart’s Piano Sonata No.11, third movement: Rondo Alla Turca. It is widely known as the “Turkish March” because it mimics the sound of Turkish Janissary bands. This song has remained its high popularity in the world by various adaptations. In the following discussion, I will explore its primary function as an education tool, and respective secondary functions in contemporary societies as a medication tool and a cultural collection in Hong Kong. An education tool for piano learning This…

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    convey feeling and situation. A third way to compose music for media is for movies, specifically sad ones. Sad music helps put anthesis on sad movie scenes (“Sad Music”) Composing sad sounding music is a good way to portray sadness. “A key is a pattern of notes that make up a scale.” (“Sad Music”) Choosing a scale is an important part of composing music, because the pattern dictates how the song will sound. Minor keys help make music more sad (“Sad Music”) Minor keys are key signatures with…

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    you have to do it yourself. I value the way I balance my time here at college as well, you need to have a good balance in order to be successful I think I have a pretty good balance and I try to not let many things distract me. I did learn a lot about my personality here at college. Before I always had friends back at home and never had any problems making friends. Now at college, all my friends did not come here so I had to make new ones. I had to step out of my comfort zone to introduce…

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    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. …

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    This essay will focus on comparing “Die Lindenbaum”, the fifth Lied from the Song Cycle, Winterreise by Franz Schubert with “Lucy, I Remember Your Name” (2009) by John Cooper of the band Skillet (www.youtube.com/watch?v=d7sjrjiOYYQ). While there are several similarities between the two pieces, there are noticeable differences; such as, the time periods in which the two pieces were composed. “Die Lindenbaum” was written in 1828 during the Romantic period to be performed with a piano…

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    tone and pitch. As the piano became known as a powerful instrument both physically and culturally, Tchaikovsky used it to his advantage and introduced the piano early onto the piece specifically Bar 6 signaling the composer to use the pedal and play at a volume of fortissimo. (Miralman; 2003)The beginning of the piece asserts the Piano’s dominance throughout the first movement highlighting the strength of both the performer and the range of the piano. With 3 D-flat major chords in each bar, the…

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    The courante (“running” or “flowing”) was a French dance whose choreography included bending the knee on the upbeat or offbeat and rising on the beat, often followed by a step or glide. The music is in moderate triple or compound meter and always begins with an upbeat. In many courantes, including the two in this suite, the meter shifts back and forth between 3/2 and 6/4, sometimes with different voices simultaneously implying different meters. Although the composer included two courantes in…

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    Jeanie with the light brown hair (published in 1854) by Stephen Foster is performed by a tenor with piano accompaniment. The piano introduces the work with a short prelude starting on a high note then descending in conjunct intervals, briefly ascends from a low note to a note close to F. The piano then varies the prior phrase by descending from a high note with eighth notes then sustaining a note close to A. Following the prelude, the tenor begins the first section on with “I” on the high note…

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    Eyeglasses Duo

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    The first piece I will depict is “Eyeglasses Duo”. This a duo played with a viola and a cello, which were performed by James VonValkenburg and Wei Yu. It began with the viola playing energetically, followed by the cello. Throughout this piece, it sounded like the two performers were chasing each other. The piece was played with two movements that have a playful tune. Each of the instruments played the them but the other performer would accompany. In this duo, the second movement is rarely…

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