Wednesday, May 11, 2005
Im Rhein, im heiligen Strome - Schumann: Dichterliebe
the piano has a very jerky feeling because of the eighth, quarter, eighth thing going on..very cool contrast between the two...
The piano line is kind of trying to get the voice line to come and join it and in the second section the voice does start to free up and addes in the alternating quarter, eighth rhythm..this section the piano actually plays right along with the voice..
by the third section the roles have completely changed..the piano is sustaing whole notes for up to three measures and the voice it jerky..then the piano plays the closing which is a recap of the very first A without the vocal line...
i hope this still counts because i accidentally feel asleep on my desk at 4 in the morning working on my music history paper......
I wrote about something classical... the world must be ending
"Liebhaber in allen Gestalten" by Schubert.
This piece begins with a fun accompaniment that is just full of character. It's mostly 16th notes and a few grace notes, which makes it extra bouncy and fun. It is strophic, so all of the verses are the same. The melody is actually pretty repetitive, and the pitches mostly go from do to sol or they are stepwise. However, there is a ri in the first phrase, so that's exciting. The accompaniment mostly plays 16th notes the entire time.
In order for this to be performed well, the singer must make each verse different through the use of dynamics and charcater. This is just a great little animated character piece that I love to perform. I also love the lyrics... I will give you the translation of the 1st and 3rd verses:
"I wish I were a fish, so agile and fresh, and if you were to catch me, I would not fail you. I wish I were a fish so agile and fresh. But I am as I am, so just accept me like this. If you want a better man, then have him made for you. But I am as I am, so just accept me like this."
Wow. Barbara sure does know me well to pick a song with this translation for me. Ha.
Ok I will stop torturing you with my rambling. As I was told earlier today, "Nice try, Katie."
serenade for strings, dvorak
The Phantom of the Opera- The Point of No Return
Sister of Night - DM/Rachmaninov Prelude in gm
DM-Sister of Night. And who'd a thunk it was chock full of syncopation. I thought I'd do myself a favor with a DM song...not so. Not so. 4/4. The melody is funny cause it doesn't decide which key it's in--either relative major or minor--sometimes hangs around the major sometimes minor, but the accompaniment underneath is this cool haunting electronic and the harmonies are somehow very mellow. Can I just say again how frickin' syncopated this is? It is. Bah. Even the introduction with some electronic sound is syncopated: dotted quarter, quarter, eighth, eighth, eighth tied to a whole note in the next bar. See there you go, syncopated. Maybe that's what gives the melody such a nice text setting, since the melody itself is pretty limited.
Here are the words (I love them):
(Ultra) Sister Of Night
Sister of night
When the hunger descends
And your body's a fire
An inferno that never ends
An eternal flame
That burns in desire's name
Sister of night
When the longing returns
Giving voice to the flame
Calling you through flesh that burns
Breaking down your will
To move in for the kill
Oh sister, come for me
Embrace me, assure me
Hey sister, I feel it too
Sweet sister, just feel me
I'm trembling, you heal me
Hey sister, I feel it too
Sister of night
In your saddest dress
As you walk through the light
You're desperate to impress
So you slide to the floor
Feeling insecure
Sister of night
With the loneliest eyes
Tell yourself it's alright
He'll make such a perfect prize
But the cold light of day
Will give the game away
Oh sister, come for me
Embrace me, assure me
Hey sister, I feel it too
Sweet sister, just feel me
I'm trembling, you heal me
Hey sister, I feel it too
--Rachmaninov
This recording is old and has static. The recording is from 1920. Josef Lhevinne. I hear more static that music. a lot of repeated fast note, dotted rhythm, and guess what--more syncopation. It's really catchy though--very dance like in some parts, yet also a march feel, and then he has these more lyrical sections in the higher register. He then returns to the first march/dance feel--I would almost say russian tango thing going on. I would say it's some sort of ternary form, but the return of the march-like stuff gets more involved than the first time. Do I hear a little codetta at the end of this? Like it closes and then the piano decides to make one last crazy leap around the keyboard?
let's end this in style...
tonight i will be blogging on the fourth movement of tchaikovsky's 5th symphony. now i'm not really going to talk about the form or anything, but i'm going to tell you a little about why this piece means so much to me. i'm feeling a little bit nostalgic tonight. it was the first symphony i ever read in youth orchestra--this was before i made the big kids group--i was probably in 8th grade. also, it was the first piece i ever had to transpose. and i didn't have my c trumpet yet, so i was transposing everything down a half step. back then, my mind just didn't work like that, but eventually i got the hang of it. i remember being so scared to play though, afraid i'd miss an accidental, and the big 10th grader who sat in front of me would always make me feel so stupid. but i'm pretty sure i showed him up when i played his solo (in the 3rd mvt) one rehearsal when he was sick. so anyway, what i'm getting at here, is everytime i hear that opening melody, it gives me this heroic sensation, and i feel so alive! that was incredibly cheesy, but you know you liked it.
peace out, advanced musicianship. you've made an ass out of me;)
"Heidenroslein" by Franz Schubert
Tuesday, May 10, 2005
Flute Concerto in D, 3rd movement
Jean-Pierre Rampal
The expository function is established immediantely through parallel phrases and repetition. The rhythm is four sixteenths, low density, and solfege is sol-mi-fa-re-do on each sixteenth. The flute line is accompanied by a violin line that makes the staccato even more emphasized. One of the things that shapes the phrases is the lack of staccato, there is especially emphasis on the contrast between the note lengths because of the low density. The flute line is repeated by strings and oboe. The orchestra then enters a developmental function. An aggressive line in the low strings creates a transistional function back into the expository one. The function is a little different, the sixteenth rhythm and solfege, stay the same, but it is more legato, with very little staccato. The flute then starts a sixteenth passage that slowly climbs up by steps. It then enters another sixteenth passage that doesn't go anywhere, just floats around in a low density, higher register. The same signal of the aggressive bass line in the strings is used to signal another transistional function to the first cadenza. After the cadenza, it repeats back to the beginning, and cycles into a new section briefly in a minor key. The expository funciton is stated again, I think it has been stated in the rondo about five times. The structure is the five part rondo. The entire piece maintains a liteness to it maintianed through very strict rhythmic and harmonic activity. The entire piece moves fast and aggressive, but because of its contrast to the lite sound of the flute, it maintains this flighty feel.
"Billy Joel" - The Longest Time
Other than the chorus, this is in rounded binary form: A A B" A B" A. There is a repeat of the first A section, as well as the B"A sections.
Chorus:
Oh, oh, oh
For the longest time
Oh, oh, oh
For the longest time
*Not really any form for this section. I love the bass guy's little solos.
A section:
If you said goodbye to me tonight
There would still be music left to write (HC)
What else could I do
I'm so inspired by you
That hasn't happened for the longest time (PAC)
*This is a contrasting assymetrical period. The background vocals do a lot of "ooo"ing and "aaa"ing. They sing the lyrics on "for the longest time."
Repeat of A section:
Once I thought my innocence was gone
Now I know that happiness goes on (HC)
That's where you found me
When you put your arms around me
I haven't been there for the longest time (PAC)
Chorus:
Oh, oh, oh
For the longest time
Oh, oh, oh
For the longest time
A section:
I'm that voice you're hearing in the hall
And the greatest miracle of all (HC)
Is how I need you
And how you needed me too
That hasn't happened for the longest time (PAC)
B section:
Maybe this won't last very long
But you feel so right
And I could be wrong (HC)
Maybe I've been hoping too hard
But I've gone this far
And it's more that I hoped for (HC)
*This is a parallel symmetrical period - it is progressive in that it is in a minor key, but modulates right back to the original key.
*The background vocals do a little arpeggiating on "bong", followed by a "duadua" - very cute.
A:
Who knows how much further we'll go on
Maybe I'll be sorry when you're gone (HC)
I'll take my chances
I forgot how nice romance is
I haven't been there for the longest time (PAC)
B:
I had second thoughts at the start
I said to myself
Hold on to your heart (HC)
Now I know the woman that you are
You're wonderful so far
And it's more that I hoped for (HC)
A:
I don't care what consequence it brings
I have been a fool for lesser things (HC)
I want you so bad
I think you ought to know that
I intend to hold you for The longest time (PAC)
Appalachian Spring
“Banana Pancakes” by Jack Johnson
This song is great because is a mixture of genres but it has that overall laid back Jack Johnson feel.
Taffanel - Andante pastoral
I got a Gal... In Kalamazoo- Glen Miller
This is a great song, and in only a short time, I'll be back in my hometown before I take off for New York for a summer of oboe.
I like the swing era kinds of songs that make you think of your grandparents, and it also has some great solos in it, one is the trumpet solo and another is of course the sax solo, don't think I didn't hear like a half an hour lecture on that from Tyler.
I don't know if its the light kind of bouncy dance feel to the song, or just me wanting to go home really bad, but the song reminds me of summer, I also like the harmonies that go on within the voices...
Here are the lyrics, enjoy...
A, B, C, D, E, F, G, H
I got a gal in Kalamazoo
Don’t want to boast but I know she’s the toast of Kalamazoo(Zoo, zoo, zoo, zoo, zoo)
Years have gone by, my my how she grew
I liked her looks when I carried her books in Kalamazoo(Zoo, zoo, zoo, zoo, zoo)
I’m gonna send away, hoppin’ on a plane, leavin’ today
Am I dreamin’? I can hear her screamin’"
Hiya, Mr. Jackson"
Everything’s OK, A-L-A-M-A-Z-O
Oh, what a gal, a real pipperoo
I’ll make my bid for that freckle-faced kid I’m hurryin’ to
I’m goin’ to Michigan to see the sweetest gal in Kalamazoo(Zoo, zoo)(Zoo, zoo, zoo, Kalamazoo)
K (K)A (A)L-A-M-A-Z-O(Oh, oh, oh, oh what a gal, a real pipperoo)
(We’re goin’ to Michigan to see the sweetest gal in Kalamazoo)
(Zoo, zoo, zoo, zoo, zoo, zoo, zoo, zoo, zoo)(Kalamazoo!!)
Queen, “Who Wants to Live Forever”
This is the last listening journal (woo hoo!) so I’m going to do one of my favorite songs.
Monday, May 09, 2005
Now the Green Blade Rises arr. John Sittard
Tuesday, May 03, 2005
Trumpet Concerto in A-flat Major - Arutunian
This piece is fairly modern, so perhaps trying to apply an old form to it is futile. After scribbling some notes about the outline of the piece, I'd say it's in 5-part composite rondo form, looking like this: A trans B A trans C A
The A section is in a rounded binary form which gives the piece the composite nature. The 'a' theme is a fast, staccato section. The 'b' theme is played over a 6/8 waltz feel. I say "played over" instead of "is in" because the trumpet still plays in a duple, hemiola feel, giving this section a cool sound. The 'a' section returns in the piano, which has a solo interlude every time the A section is played.
After the first A section, there is a transition made up of the 'b' material which leads into the major B section, which is a soft, ballad-sounding feel with lots of 7th and 9th chords, giving it a real modern-jazzy feel.
'A' returns, in the same manner it was played the first time.
There's another transition into the 'C' section, which is very similar to 'B' in its modern jazzy feel. This section has a lot of nice tension and release between dissonant, extended-harmony chords that resolve to simple triads - I especially like his use of Db, which is to me the most mellow-sounding triad.
'A' returns again, barely changed from the begninng.
Monday, May 02, 2005
peel me a grape
it's really laid back, and my favorite part is that the melody comes in on the and of 1 in every measure. the melody (sol-me-do-fa) is so great, and always gets stuck in my head.
at the bridge the rhythm is much more strict, almost in a spoken manner and the melody changes too. (do-ra-ti-do-ra-ti-do....re-me-di-re-me-di....me-me-me-do....re-me-fa) and then we go back to our (sol-me-do-fa). ooooh, it's so cool.
in diana's version she plays a piano solo after the head is played through once, and she's pretty much just embellishing over the melody, which adds a nice feel without carrying us too far from home base.
good tune, you should listen.
p.s.--she's my aunt's cousin. that's pretty cool :) i mean, it's pretty distant...kind of like the six degrees of kevin bacon...but still...diana krall is amazing, and i'm claiming it.
"Yellow Pages"
Schumann Dichterliebe
Im Wonderschoenen Monat Mai: This is the first piece of the cycle. It is quite short, composed of two strophes, identical. It's simplicity mirrors the innocence and naivete of the poet as he sings of his heart's confession. The piano has a haunting repeated gesture that moves through all of the accompaniment, especially prominent in the prelude an interlude. A major.
Aus meinen Thraenen spriessen: is perhaps even shorter. It begins again the mi, and retains much of the melodic hints of the previous song. Here though it is through composed in three phrase groups (the first two shorter and parallel, the third twice their length), all ending on a half cadence. Still in A. There is also no introduction.
Die Rose, die Lilie, die Taube...: We've changed keys to D Major. It's quick, light, joyous--only one break for the singer to breathe. The singer actually begins before the piano, though the piano has a nice postlude.
Wenn ich in dein Augen seh': though in GM, the first melodic gesture of the singer is reminiscent of the first two pieces in the cycle, beginning on the b, repeated , then up, down. He does some interesting harmonic wandering, as the poety wanders through the pain of holding such desire in his heart.
Dein Angesicht: We go from GM to EbM! chromatic mediant? Again repeated b and then up, but this time a b flat. It begins three phrases on the bflat, the first being the shortest, the two longer, all take advantage of the repeated b flat.
skip one (Bb Major)
Ich will meine Seele tauchen: this is my favorite of the cycle. The piano just takes off into a different world here. We again have that odd three assymetrical phrases going on, though all here are ending on a PAC, and we're in a lovely b minor--how does he get away with this? Maybe it adds to the shock factor. I'm gonna listen to this again, then again, then again, because this is my favorite, and I'm stopping here for tonight.
Shostakovich symphony no. 5 -mvt II
"High Fly," Randy Weston
That being said, "High Fly" is a ii-V-I tune we're playing in jazz combo, and it's made me realize how bland a lot of jazz actually is. Composers can and will continue to write as many melodies on this kind of progression that they want, but they will still be linked by that darn progression that all beginning jazzers have to study.
It's got an easy swing feeling, so the style is also not very interesting. Overall, I feel pretty bored when I hear it, unless the soloist does something different.
I guess the ii-V-I is to the evolution of jazz as IV-V-I is to the evolution of classical music. The things that made composers of any time good, interesting or innovative was largely about the way they avoided or manipulated that cadence.
One Short Day - Wicked
Well the beginning starts off with the chorus which sings "one short day...in the emerald city" which surprise surprise goes with the chord progression of"do sol fa ...fa sol la ti la sol fa" The ending "in the emerald city changes slightly each time but the opening is always do sol fa... the solo voice follows the same outline for the most part..Then all the sudden, it breaks into a very old style sounding broadway musical with over dramatic articulation...then after that deal it is back in its original setting..it is an A B A with a very independent B section...tonally stable, and very much different from the original A..
"I'll Tell the Man in the Street"
This song is by Rodgers and Hart, and I adore it. I wish I could find the sheet music for it, because I'd love to be able to sing it. I also just love Kristen Chenoweth. One of the reasons I love her is because she was classically trained to be an opera singer, but has instead pursued a career in musical theatre very successfully. So, basically, I want to be her. HA. One of the reasons I love this song is because it is one of the few times you get to hear her use her classical voice. She usually sings in a very bright, nasal, character voice way. SO here goes...
The song starts out with flutes playing a sequence, and then the strings join in. It's beautiful. The vocal line comes in, and the accompaniment just basically serves to support it. Leading into the refrain, everything grows. The orchestra is very dreamy sounding, and plays with a beautiful legato sound. The orchestration doesn't stand out at the refrain, but the vocal part does. It's stunning... it just soars in this beautiful soprano floaty way. Later in the refrain, there is a huge build, and the violins are stunning. They play at a really high register, and it's a nice effect.
The verse from the very beginning returns, but with a very full orchestra under it. The song ends with Kristen Chenoweth sustaining a glorious note, and the orchestra playing the melody underneath her. fabulous.
"I'll tell the man in the street, and everyone I meet that you and I are sweethearts."
Ray Boltz- Thank You
Sunday, May 01, 2005
Sibelius
Jason Mraz- You and I both
My good friend Jason is talking about a past relationship. He looks back on it happily because "you and I both loved, what you and I spoke of and others just read of. And if you could see me now, you would know that I'm almost finally out of words." The song is in major until he switches to minor for a short bridge to say that it's ok that she never calls and even though he's sad that she ended it...(changes to major)...He's glad that they loved at all. Such a sweet song.
Well, John Mayer was next on my Boys and Guitars playlist that I seem to have on permanent play, so I'm going to go enjoy him. :-)
Mozart Flute and Harp Concerto in C - Andantino
poopiter from the planets...when i say poopiter i mean jupiter
i enjoy the beginning of this movement because it is very cosmic--just like holst intended, i'm sure. it feels like we're in the movie star wars, and we're flying at the speed of light through the galaxy. it must be the fast moving strings. then the horns come in, victorious and vibrant, like the jedi knights after a tough battle.
so a similar jolly melody sticks around for awhile until a stately andante section arrives. it feels very motivational to me, like Hans Solo giving Luke Skywalker a nice little pep talk. the music takes on two bar subphrases that swell, and flow like it's liquid music or something.
when this section is through, a rather reflective section is played by some select winds and strings. i can't think of a decent star wars analogy, but it's kind of like that time Darth Vader says "Luke, I am your father" and it's really sentimental, you know? that's how it feels.
the faster melody returns, and we're back in the milennium falcon. it's fantastic...
more later.
Oboe Concerto- Ralph Vaughn Williams
The beginning has this cold, and wintry feel to it, but its still beautiful and as you hear the oboe play you can easily picture snow falling across a countryside or something. The B theme is this lighthearted, staccato melody which gives you kind of the jovial sense of snow flakes dancing but then modulates to the relative minor key which always kind of gives me the sense that the calm snow is turning into more of a blustery storm, it has a more intense feel with clusters of accented sixteenth notes giving a sense of urgency like its time to get home out of the snow.
The piece ends in this parallel minor key with the main melody which I really like, it gives a sense of unrest but I feel like the movement definately has closure.
"Screaming Infidelities" by Dashboard Confessional
trio for piano, clarinet, and cello, allegroo, Brahms
Frauenliebe und Leben I - Schumann
Quintet for Winds, Op.45 Andante
Stanford Woodwind Quintet
Begins with very legato, melodic line in bassoon and horn. The bassoon plays a held note while the horn line creates a flowing line. After the first phrase, the horn line is replaced with a clarinet, in the same register, with the same note in the bassoon. This first section mainly stays in the same register, or lower, so it sort of has a muddy feel to it, combined with the pedal melody in the bassoon. The darker feel also it created from the tonality, which is more stagnate, not a lot of V-I and a lot of HC. This is also because the base makes up a large part of the texture because of its dynamic. The base also has a very stagnate rhythm, a constant descending line in the bassoon part of do-te-le-sol, very dark sounding. The piece is very Aeolian sounding. None of the notes feel like they are being pulled in a particular direction, but the lines have their own unique beauty to them. The tonality itself is very evasive, but all the notes center around do in a natural minor scale. The clarinet line is a development line of the horn line. After the clarinet phrase, it is repeated, and at the same time, the flute enters, then the oboes, the horn, and the flute again. The instruments all have their own duet with the bassoon eventually, inbetween those all four instruments come together. Instead of using tonality as much, Mucyznski brings more and more voices together, or plays with the rhythm. The stem of this piece is definitely the Aeolian mode, because even at the end of phrases it maintains this loose whole step feel to it, put still maintains a pulse. It makes it sound very moody. I liked the piece. Because everything was so limited to this scale tonally, it ended up sounding all the more creative.
"Lobet den Herrn, alle Heiden" Bach motet
This ends, and we move into the complicated "Alleluja" section. The main subject in this section is performed 14 times, but only once by the soprano voice. Gradually all the voices come together for the terminative section. It ends on a full V-I, PAC cadence.
Gabriel's Message, "Once in Royal David's City"
Friday, April 29, 2005
Bernstein's "Anniversary No 4'
You Raise Me Up
There is a nice litte intro. that I believe would sound even more cool if it were on the bagpipes, but its on a string instrument.violin...the intro ends on a PAC then has static note repeated until the voice come in to sing the same line...
The intro then comes back as a transition back into the chorus of the song. After the chorus is sung once more..it is sung again...this song basically is made totally of chorus being repeated...
it goes - intro. verse chorus trans. chorus chorus (cad extension) chorus (ending is developed) chorus (reg.)
So, as you can see there is really only one verse and the rest is just playing around with the chorus..adding instruments or modifying it a little each time to keep it forward moving..until the last one which is set how it was in the beginning giving us a sense of termination...
Sonate Pathetique- Beethoven
I was firstly impressed with the dramatic presence that the piece has on its own, but also the effect that a performer can have on the piece as well. I've heard this piece a buttload of times, we had to study it for music history, but it was such a different experience hearing and seeing it performed live.
The dynamics and phrasing were definately Beethoven, with huge contrasts and very dramtic and beautiful phrasing. If was evident that Julie had really listened to some contrasting interpretations of the piece and made it her own which is awesome.
I'd say that the piece has an urgent quality to it, and the fluidity that it produces through the tons of notes as well as the dynamics is really apparant.
I love the cadenza that ends on this g7 chord really nicely, it sounds solid and then takes you back to the main theme which feels really comfortable and stable, thats my favorite part.
Der Schmied- Brahms
Good luck on Proficiencies everyone!!
Bartok, Mikrokosmos: from the diary of a fly
Quiet City -Copland
leather-winged bat, jake heggie
it begins with a crazy three bar intro (i know, you're thinking...why not four? well that's heggie for ya'). when the vocals come in "hi, said the little old leather-winged bat", the accompaniment drops away to random chords on 1 and 3. once the singer gets to the 'refrain' ("hi-o-day-o-diddle-o-down...") the accompaniment picks up again and is very steady.
this song talks about a leather-winged bat, a woodpecker, a bluebird, and a robin. all have different personalities as is evident by the accompaniment. the woodpecker: eigth notes in the left hand; bluebird: floating melody in right hand; robin and bat both have sparse accompaniments. everytime the refrain has the same accompaniment. we could say that it's ABCBDBEB' but at the end (B') the singer goes up to an A, which as i've already discussed with dr. s. is quite high for a mezzo. but...it's hot, what can i say?
sort of random: everynow and then heggie will throw in an extra two beats, not making a 2/4 bar or a 6/4 bar, there's just a dotted line and then two more beats. this extra two beats, however, always comes right before a transition either into or out of the B section. pretty cool, huh? yeah...heggie's hot.
p.s. he's coming here next year for a masterclass! i know...it's hot...you don't have to say it, i'm thinking it too :)
shostakovich string 4x no. 8 mvt II
Insomniac
I can hear your bare feet on the kitchen floor
I don't have to have these dreams no more
And I found someone just to hold me tight
Hold the insomniac all night
There is a brief return to the beginning of the song, but the harmony and accompaniment quickly change. Sustained "ah" chords mark a distinct contrast in the second verse. These are my favorite lyrics of the entire piece. They are just very meaningful, and cool.
I've tried everything short of Aristotle
Took Dramamine and whiskey bottle
Pray for the day when my ship comes in
And I can sleep the sleep of the just again
A bridge with faster harmonic rhythm leads us to the concluding section of the piece.
The final section of Insomniac is a sort of vocal fugue. There is a underlying bass part, with various voice parts entering with unique motives. These various parts converge in a climatic chord leading into a terminative section. The piece begins very similar to how it begins, with a unique vocal rhythm accompaning the wailing soloist.
This is a great song. It's fun to listen to and to sing.
Thursday, April 28, 2005
Beethoven- Sonata in E-flat Major- Allegro
Holst, First Suite in E flat
The first movement is called Chaconne and which means of course it is a Chaconne with the same harmonic line that is repeated several times throughout the movement. Holst does a good job of switching textures in the song by contrasting the lyrical melodic lines with some march like rhythmic passages in the accompaniment. There is also a great crecendo in the middle to end of the movement with very long cymbal and snare drum rolls that really highten the anticipation. It is also really cool how he makes an assymetrical phrase by adding one measure right before the climax.
The second movement is called intermezzo. Though this is a very brisk piece unlike a slower movement that is usually expected for a second movement, this piece has very light textures and flowing melodies that gives the movement a feeling of a piece that can't stand on its own. The melodies in this are very nice as is the very soft tambourine.
The final movement is called march and is has the feel of the march but isn't traditional in the sense of form. There is a loud boisterous march section in the beginning that switches to a softer lyrical melody but then near the end a very cool thing happens when the march feel from the beginning is played by the drums and some accompaniment lines but the lyrical melody from trio-esque section gets put on top of the march feel which has a really cool effect. This pushes to a very dramatic end that is very satisfying.
CPE Bach - Flute Concerto in A - Largo con sordini
"Something There" from Beauty and the Beast
Now comes my favorite part of the whole song: the bridge. I used these 16 bars for an audition last weekend, and the result was me being cast in my first professional production! Maybe that's why I like this part. Ha. Anyway, it starts out on a B, which is a very middley place for a soprano, so it comes out as a wonderful mix belt. The rhythm here is very different. Thus far, we have had mostly eighth notes, and now it is all half notes. It's a nice change of pace. I think it is done like this because Belle is reflecting on how she is seeing a new and different side of the Beast, so the melody becomes more reflective.
After the bridge, Lumiere and Cogsworth come in and sing the first half of the third verse, which is identical to the first two. Mrs. Potts joins them for the second half. There is a little bit of harmony here, but nothing outstanding. The rest of the song is nothing but the same leaping eighth note figure in the accompaniment with Lumiere, Cogsworth, and Mrs. Potts singing the melody until the end. The song ends on a rolled I chord.
What a cute song. I am so excited to be doing this show this summer!
Die Schoepfung (The Creation) Introduction "Representation of Chaos" - Haydn
There's a long introduction with no clear cadences or melodic motives that goes on for two whole minutes. It's filled with tutti sforzando chords, and a lot of descending and ascending chromatic passages. At about 2:12, you think that we're finally settling on "do" ... but hey! It's a deceptive cadence, and the descending passage that we thought was approaching do, actually starts over again. Very funny, Haydn. This leads to a ascending passage that gradually crescendos, and then it's a fortissimo PAC!! Whew.
An oboe solo is heard over the orchestra's chords. It plays an ascending sequence that modulates over and over again. More tutti chords, lots of repeating V-I chords. Then a wonderful V-vi cadence!! Deceptive again.
There really hasn't been an interesting melody or any phrase structure that would constitute a period or phrase group. Just a lot of modulating.
All of a sudden we're in a clear minor key. Lots of timpani! And we switch keys again. And again. Really, this is getting tiring to try and analyze. At 5:33, we still haven't found a clear melody. A clear half cadence that feels like it should resolve but never does at this point.
The mood of the piece changes to very pianissimo and melancholy. A lot of woodwind solos - clarinets and flutes. We reach a tonic note! This "do" is repeated in the lower instruments many times.
I am sure that Haydn had a lot of imagery in mind for this piece - it was meant to be program music. It's interesting that there aren't too many PACs in this 7 minute piece. The lack of a clear tonic note and melody, as well as the many unresolved chords, suggests chaos.
"Agony" from Into the Woods by Sondheim
I drink to forget (klezmer music-oy!)
The group is called klezperanto (?), and the clarinetist is Ilene Stahl-There's a bassist, a trombonist, a percussionist, banjo/guitar player, and piano/accordian player. This piece starts out pretty sad. The clarinet starts in the minor key, playing an almost yearning, very pretty melody acompanied by the banjo and bass. She bends the end of her notes a lot, stops the notes with her throat sometimes, and uses a lot of trills, playing around with the sound, and changing the style-very klezmer. It's in 4/4 and the period is made up of 4- 4 measure phrases, every other one ending on a PAC. The accordian and trombone come in right after the first pac, and these two instruments are playing independently from her, but the trombone and clarinet sometimes have these little call and response motives. There's a big trombone solo where the clarinet cuts out. This is where the song picks up, because the trombone slides up an octave, and then it moves up a third, and is now in the major. The tempo speeds up a lot more, almost double of what the beginning was. The ending is a big "do sol do" in unison, in the major key.
Bach: Three Part Invention No. 10
This invention would be fun to play on the piano, if possible. It would also be cool to hear this piece with even different instruments as it is in this version. The voices seem to call and respond to each other and it would even be cool to hear this on three guitars. I like how naturally the transition section sounds.
Sonata in A major, D 574 1. Allegro moderato
The first theme is signaled by a dotted quarter, eighth, rhythm in the piano part, the eighth going up or down a step. After two four measure phrases of this, like an intro, the violin enters with the expository melody. This is signaled by a do-la-sol... , the do played as a dotted half, the la a quarter, and the sol a half. The line continues alternating between half note and quarter note rhythm. It is very legato, and even with a simple quadruple meter. The dynamic is soft, in a comfortable register. This is mainly to contrast with the second theme. The phrases are typically four measures, very symetric, forming two phrase periods. Transistions are signaled usually by asymetric phrases. The transistion into the second theme is signaled by a sudden drop in texture, and a descending scalar line in the violin, the piano then switches off with the violin and repeats the same pattern. Even in the second theme, the idea of scales is seen near cadential material. I think the second theme modulates to the minor dominant, definitly the dominant. The second theme is denser, with the piano building up on eighths, lots of sudden dynamic changes, and a sort of down up motion. The second theme, especially in the violin, has more metric accents, denser rhythms, with sudden rhythm changes. Overall, it just feels livlier. The expository function of the entire piece is especially recognized by its stability, because of the dotted quarter eighth rhythm in the piano and the pulling from the close intervals back to the dotted quarter. The ending cadence to the second theme is created by a series of sustained res in the violin, ending on a pac when it finally hits do. The new third theme is signaled by a compound meter and sudden, loud key change to a minor key. The theme has a denser rhythm in the violin part, and the piano emphasizes beats two, three and four by resting on one or dropping in register. The violin part does the same thing with its triplet rhythm. This theme is in a compound duple meter. This theme is shorter, and returns back to the expository function after a large transistional function. The transistional function is definitely part of a new theme because it doesn't follow any of the previous cadential patterns, There are large intervalic leaps in the violin, and the violin is denser than its every been. To create a smooth transistion back to the expository function, the do is elisioned. I liked the piece a lot, especially because of the bittersweet quality several of the keys had. The cadence in the second theme is signaled by a leap in register and decrescendo, it ends the same way.
Wednesday, April 27, 2005
"while my guitar gently sleeps"
Starts in the Minor key for each verse- The chorus goes to the dominant. it's in 4/4, and The tempo is really ploddingly slow, and the chord progression ofr the verses go "do te le so fa le te do" . This bass line continues throughout the verses. This song is also strophic. There are different layers to the guitar sound, which is cool. The chords for the chorus are IV-vi-ii-vi-V-I. When it goes to the chorus in the dominant, it's like a little ray of sunshine peeking through a thunderstorm...yeah. The phrases for the verses are in four measure phrases,the first cadence ending on a PAC, the second ending on a HC. The ending is very terminitave, going V-I-V-I, and finally ending on a PAC
Sulek -Trombone Sonata
"konstantine" - Something Corporate
This songs accompaniment is primarily made up of arpeggiated chords which move at a fairly rapid speed. The vocal line moves somewhat slow and fits more with the bass guitar which is moving slow as well…The song it really long for a alternative style song. So it has it’s “A” section that stays how I explained above. The B section has a change in register in vocal line and in the piano part. It goes from arpeggiation to octaves with a moving bass line underneath. This pattern is then repeated so that it goes A B trans. A B trans. C closing (contains some A..I believe)…every new section seems to add more instruments. It works its way up to having voice, piano, drums, and bass guitar.…It is very repeatative as far as text and melodic lines throughuot the sections. I think it’s a very pretty song….And that’s what I like it…yup..
"Oh Happy Day" SISTER ACT II: Back in the Habit!!!!!!
"Oh Happy Day" is not an original song from the movie, OF COURSE. Although I can't find the original source. But it is a famous gospel piece.
Well the movie version rocks the most, because it is full-on gospel. This part of the movie comes when the Academy of the Sacred Heart (or something), a once run-down Catholic school with a terrible music program, sings in public for the first time under the choral direction of Whoopi Goldberg ... er ... Sister Mary Clarence. SAME DIFFERENCE!!! The point is, Whoopi gets the choir of teenage hoodlums to sing like ... adults ...? Luckily, Whoopi doesn't sing on this track. Though the star of the movie, her voice is somewhat lacking. Let's not forget that a young Lauryn Hill and Jennifer Love Hewitt appear in this movie!
The song begins with a vamp on the piano (the only accompaniment). Ahmal comes in hesitantly, complete with squeaks and a lack of enthusiasm. Come on Ahmal!!! Sing like we know you can! The choir also sucks. Oh happy day ... :( Whoopi encourages him by having the choir sing one of their (useless) vocalises. Surprisingly, it fits the piano's modulation. Suddenly, Ahmal sounds like he's been recorded in the studio. He's amazing, and he's got soul! Whoopi still sucks, though. Some more bad vocalises (the "Lah" syllable isn't the best to warm up on) and then the entire choir has got soul! The song modulates some more, and Ahmal rocks out. At one point, he busts out a high D# in falsetto, an amazing feat. The choir then "brings it down," and finishes with a full gospel chord. There's clapping at some point too.
The song is very repetitive, and relies on embellishment from the soloist to keep it exciting. It's basically modified strophic, with only the lyrics changing.
The moral of the story is, teach a lousy choir some lame vocalises, and they'll sing like this.
memories of tommorrow
You're so Vain--Carly Simon
the percussion and guitar overdrive just add to the raw edge that is carly's bitterness. the repetition of words only drives her point home. It also adds to it that before she repeats the words she sings over a held chord for a couple of bars. This ensures the audience is listening :)
Background vocals are not brilliant, but they add some depth to the chorus texture. The guitar solo and piano solo break up the somewhat strophic form of carly's rant.
there, it's strophic, and i like it. and we all know the words. and the guy's wearing an apricot scarf. and he's gavotting!!! it doesn't get much better than that.
Cumming Prelude # 24
Tuesday, April 26, 2005
"Ecstacy of Gold"
Anyway, back to "Ecstacy of Gold"... The San Fransico Symphony has a very stirring rendition of the piece. The tubular bells, along with the muted solo trumpet wailing on the main theme give the piece a haunting feel from the very beginning. The theme itself paints a vivid aural picture. One can almost imagine a dusty town in Southern Texas, where the law is taken into the hands of the local sherriff. Enter the snare drum, propelling the action, and intensifying the emotions. Quickly the piece builds, with the woodwinds taking theme, then passing it on to the strings. The strings are absolutely beautiful. The piece climaxes with the brass echoing the strings sending the symphony to a desperate conclusion. It reminds me of a showdown between the good and bad guys, both about to draw their pistols. This piece definately raises your heart rate a few beats.
Van Noordt's "Fantasia no. 1"
Purcell sung by Sylvia McNair -"Tell Me, Some Pitying Angel"
This is beautifully sung by Sylvia McNair, who does ornaments almost like a celtic soprano. Beautiful ornaments and runs throughout. It's very additive musically and divided into several emotional/musical sections (where are the affectations now? huh?) The first section is very much recitativo and jumps around keys, in minor, in major, skeleton accompaniment in the keyboard. It ends with her calling Gabriel, but he doesn't come. I love how at the last Gabriel she almost gets breathy with vexation -- and its on this repeated high note, making it all so poignant. Then the melody sinks down saying, "flatt'ring hopes farewell." Then, the key changes, tempo changes, the accompaniment does more and starts to imimate the vocal footwork in the next section. It's much shorter than the first part and is followed by another recit section even shorter, returning to a forth section somewhat similar to the second, only the meter's changed, it's 2/2 and not 3/4. This finishes with another recit section. Nice to note that all the recit's are in the same key, but they have such different lengths--otherwise I'd draw more attention (yay apothecism) to the fact that the form of the piece shadows vaguely that of a 5-part Rondo. Plus the recit doesn't really have a "theme" to speak of. I love the last line: "I trust God, but oh! I fear the child." Really interesting spiritual and psychological implications, fun trip for the performer too.
Blue in Green as recorded by Miles Davis on Kind of Blue
The melody, when Davis does play it, is incredibly rubato (which isn't anything new or surprising), and the musicians use very extended harmony, which is also typical of this combo. I mention these things however, because the combination of those factors made it almost impossible to follow along with the combo through the changes.
I'm also amazed at how much the chords seem to make sense when I hear them played by this group - I've been struggling to make them sound like any kind of coherent progression in my jazz piano lessons.
There is no clear tonal center - the only major chord in the piece is a Bbmaj7#11 which occurs only twice, and isn't the last chord. There are four ii-V progressions, three of which are A-D and don't resolve to G, which the listener expects. The fourth ii-V does resolve to Bb, giving the piece some sense of a tonal center and at least one cadence.
This piece made me feel relaxed, like most of Miles' music. If I hadn't had the chord progression in front of me, and wasn't trying to decipher it, I probably would've enjoyed it more for the sound that makes Miles great - cool. However, looking at this piece from an intellectual standpoint makes it a bit of a headache.
"There's a Fine, Fine Line" from avenue q
The song begins with a little bit of the melody being played on the piano. It's not in a minor key, but the sound of it is just a sad, lonesome sound. Then Kate comes in, with the melody. The voice part here is very very low and chest voicey. She has almost a raw quality to her sound here. This only lasts for a few measures, and then the register changes and it is much more in her head voice. Once this happens, things change. The sound grows a lot... she is singing louder and the accompaniment is much more complex.
At the bridge, things get even bigger. The vocal part gets really belty, which is great. The instrumentation changes, and now there are many more instruments than just piano. The drums are very prominent here, they really play a lot. This is the highest that the vocal part ever gets.
After the bridge, everything slows back down and goes back to exactly how it was at the beginning, but only for a minute, and then she belts the big finish. It's the same melody, but a few steps higer. Great song. Nice to have some actual singing in avenue q to write about :-)
Better Than Ezra, "Je Ne M'en Souviens Pas"
The song begins with the introduction which has a drum beat exclusively on the snare drum with some voice effect that almost sounds like it's being played on pots with a synthesizer single line melody.
After a few measures of the drum beat kicks in with an extremely funky with lots of hi hat open hits and active syncopated snare drum. The synthesizer part is the only part that establishes chords with a line that has an eighth rest followed by five dotted eighth notes on do-re-mi-fa-sol of each chord and some light bass in the beginnings of measures that are extremely hard to hear. Then a vocal line gets added over it, but the voices are so distorted that I can't tell what it is being said. I can tell it's the same words every other measure with a measure of no voices inbetween. maybe it's the title french phrase. The next voice added to the texture is the flute. The flute lies low in this part just outlining some chords in the begginning part.
The vocals then change to a distorted talking voice, something about the singers girlfriend of something. The drums stay the same, and this and the bass part is all that remains. The rest of the texture comes back in with the talking distorted voice with a little singing with the original vocal line. Then the vocals go out and there is actual "rap" part with clear lyrics. It mentions Paris so I guess that is the title. After this the vocals become distorted again and the texture falls to just the bass line and this eventually dies away.
The drums then come back like they did in the beginning with a much more active bass. Then comes the vibe solo, which is cool. It is very sparse but provides good melodic movement and becomes more involved and interacts well with the original vocal line that comes back. The vibe line takes the background and a new vocal line is added with a new singing line that is distorted with one of those distortions that makes it sound alike another really high voice singing.
The drums fall away again but all of the other parts keep going. There is a constant feel of time but no pure steadiness of rhythm which gives a really cool sound. The flute solo at this part becomes really active too. And to end the song, the voice is distorted in a way it sounds like an insect and dies away.
It is quite weird and all that, but has a really good beat and some good combinations of musical timbres.
"No Leaf Clover" by Metallica
"Domine Deus" Mass in b minor
Bach
Jeanne Baxtresser
The solfege in the beginning, and the main theme, is d-t-la-sol, stated a total of three times. The phrase is played in the first measure, then repeated, and then played as the last measure. In between, the development phrases are shaped by held half steps, like t-do. The continuous eighth rhythm keeps a steady tempo and focus on the motion. Because there are little jumping intervals, combined with the rhythm, the excerpt seems lite and flowing. The main theme rhythm is characterized by a dotted eighth, sixteenth rhythm, and the descending solfege. I liked the excerpt very much, you can't go wrong with Bach.
“Still in Love”
I like this song and how each part comes in at a certain time. It might not be too hard to reproduce a cool sounding piano version of this song.
“Still in Love” by William Shatner
I like this song and how each part comes in at a certain time. It might not be too hard to reproduce a cool sounding piano version of this song.
“Still in Love” by William Shatner
I like this song and how each part comes in at a certain time. It might not be too hard to reproduce a cool sounding piano version of this song.
“Still in Love” by William Shatner
I like this song and how each part comes in at a certain time. It might not be too hard to reproduce a cool sounding piano version of this song.
First SWEET in E-flat- HOLST
Its kind of cool how the chaccone gets passed all over the band to different instruments, and I find it very comparable to the Ron Nelson Passacaglia that we played on our last concert. I think its interesting that this chaccone or passacaglia or main motive or WHATEVER always starts out in the lowest voices of the ensemble. I feel like this really kind of anchors it into the listener's ears and to the instrumentalists as well. Its the base for the piece and I realized even as a member of the ensemble that once I heard that main theme in the beginning, it made it easier to relate my own part to that main motive.
As always with anything like this, I feel like its almost a game to try and listen for the different variations on the theme, and to hear it passed around the ensemble and then see where MY part fits into it all, but thats kind of how I generally look at music anyway, so with something like this chaccone where there is a really catchy melody it makes it ecspecially easy to be able to pick out where you might have a significant part.
Rodrigo - Fantasia para un gentilhombre - Espanoleta y Fanfare
The piece progresses into a B section, which is a really interesting change in style from the A section. This fanfare is very Spanish dance-like, but is followed by an arpeggiated motive. These two elements make up the motive of B. A little way along, the flute has a cadenza with material from A. When the cadenza is over and the orchestra has returned, we have a return of the A section that sounds almost exactly like the initial A, only there are slight variations that keep the material sounding interesting. The piece is rounded out with a terminative section similar to the intro in the beginning except the flute has it now instead of the oboe.