that's right. I have driven over 16 this week in dealing with a family illness and since I listened to music the entire time, I will attempt to touch on most of it.
I started out driving last Sunday night listening to Jeff Buckley. He is an amazing singer songwritter. His high tenor vocals soar over rocking electric guitar. His cd "Grace" is on my top five album list. Check it out.
Then I don't really remeber what I put on. I think I might have just listened to the radio for a bit, everything from classic rock to country.
On my way back to DePauw on Tuesday night I stoped about half way and bought a new cd from a Starbucks. Antigonie Rising to be exact. An all girl band. I don't know if I really like it yet. It reminds me of Melissa Ethridge with more back ups.
I then listened to an all time favorite, Radiohead. Radiohead is by far my favorite band. I find their music so intelligent and beautiful. Yay for them.
Wow I'm so tired right now, this is getting quite loopy.
Then some Dave, "Crash", which I believe to be the bands best album.
Then on Friday when I drove up again I listened to Carlise Floyd's Susanna, in preperation for Concerto's. It's a great opera. Then I listened to a pop cd mix from Feburary, 2004 which included such hits as Brittney Spears "Toxic," and The Darkness's "I Believe in a thing Called Love."
Today on the way back I listened to Guster's "Parachuttes" on a loop till I could pick up WGRE.
So I think 16 hours of music should possibly make up for me missing a blog last week?
Sunday, March 12, 2006
Sunday, March 05, 2006
Brahms and the BBC Orchestra
This week, I listened to Brahms' Piano Concerto No. 2. This is the piece that I am currently working on for orchestral excerpts for lessons, so I decided that as long as I knew it, I should write about it. The recording that I checked out of the music library was of the BBC playing the piece under the direction of Adrian Boult. The piano soloist for this recording was Artur Schnabel. The recording, obviously very old when the orchestra enters, was recorded in 1935. Schnabel died sixteen years after this recording was made.
The first movement starts out with a delicate, soft horn solo. This solo is known by all horn players as a real “nail biter,” for the solo horn comes in completely cold. There is a moderately long introduction by the orchestra before the piano comes in with this line of mixed emotion, first somewhat anxious and before bringing in a relaxed theme which the orchestra takes over. The horn line, present in both the first and third horns, is heard throughout the movement and in a variety of textures. The first time, it is present as a very delicate line, however quickly, the same line turns into a brass fanfare of sorts. Brahms does a wonderful job of using this theme and weaving it seamlessly into the different textures of the movement.
The second movement marked “Allegro appassionato” is just that - the piece starts off with an emotion-filled line in both the piano and the orchestra. Brahms wastes no time getting to the main idea of the movement. The influence of the theme from the first movement can be felt throughout the second movement with the descending groups of three notes continues in this triple meter movement.
The third movement starts off with a solo, introspective cello solo. Beautifully played in this recording, the cello leads the small group of strings into the next section with full orchestra. Again, in this movement, the orchestra almost has more to do with the conveying of the emotion than the piano does. Tension builds about a third of the way through the piece with the piano's running octave lines and unusual harmonies. The movement ends as beautifully as it started, with a shorter yet beautiful cello solo with the piano.
The fourth and final movement begins with an almost playful and jubilant theme introduced by the piano. The piano, setting the tone for each the following section, leads the orchestra into the section. The orchestra does a beautiful job of providing energy while allowing the piano to remain the main propellant of the mood. The piece ends much like it started in this movement with the jubilant, jumping lines in the strings with the piano performing his last fun runs as the piece ends.
This recording was an oldie, but a goodie. It captured the character that Brahms was attempting to convey through his music.
The first movement starts out with a delicate, soft horn solo. This solo is known by all horn players as a real “nail biter,” for the solo horn comes in completely cold. There is a moderately long introduction by the orchestra before the piano comes in with this line of mixed emotion, first somewhat anxious and before bringing in a relaxed theme which the orchestra takes over. The horn line, present in both the first and third horns, is heard throughout the movement and in a variety of textures. The first time, it is present as a very delicate line, however quickly, the same line turns into a brass fanfare of sorts. Brahms does a wonderful job of using this theme and weaving it seamlessly into the different textures of the movement.
The second movement marked “Allegro appassionato” is just that - the piece starts off with an emotion-filled line in both the piano and the orchestra. Brahms wastes no time getting to the main idea of the movement. The influence of the theme from the first movement can be felt throughout the second movement with the descending groups of three notes continues in this triple meter movement.
The third movement starts off with a solo, introspective cello solo. Beautifully played in this recording, the cello leads the small group of strings into the next section with full orchestra. Again, in this movement, the orchestra almost has more to do with the conveying of the emotion than the piano does. Tension builds about a third of the way through the piece with the piano's running octave lines and unusual harmonies. The movement ends as beautifully as it started, with a shorter yet beautiful cello solo with the piano.
The fourth and final movement begins with an almost playful and jubilant theme introduced by the piano. The piano, setting the tone for each the following section, leads the orchestra into the section. The orchestra does a beautiful job of providing energy while allowing the piano to remain the main propellant of the mood. The piece ends much like it started in this movement with the jubilant, jumping lines in the strings with the piano performing his last fun runs as the piece ends.
This recording was an oldie, but a goodie. It captured the character that Brahms was attempting to convey through his music.
Sunday, February 26, 2006
Mass amounts of Mass
So it's been a mozart mass listening day. Mass K49 was written in 1768 when Mozart was twelve and it sounds like it. Very crappy piece of mass. The strings just double voices, the voice lines are very unsingable, and the melody is harmoically boring. Then Mass K192, the "little credo mass." I think this is my favorite of the ones that i've listened to today. There are a lot of motives that reapear throughout. This mass is very catchy. I always come away from listening to it humming sections of it. The Mass K317 is the "coronation mass." This mass, going along with it's title, is very regal. It has the feel of a french overature with the dotted rhythms. It has very loud ornamentation and often the voices sing in unison. The last Mass I've been studying is the Mass K427. This is Mozarts last Mass other than the requiem, and he never completed it. In this mass Mozart models his music after Handel and Bach, the two composers that he was informally studying at the time.
YAY for mass!
YAY for mass!
Copland in iTunes
I decided to write on pieces that I already had on my iTunes. I often forget how much music is right there in front of me. I listened to a recording of Copland works. The works on this CD were Fanfare for the Common Man, Rodeo (the four parts), Billy the Kid, and Appalachian Spring. Fanfare for the Common Man, which the University Band brass and percussion section will be playing on our spring concert and recording, utilizes harmonies quite typical of Copland. The beginning starts off with percussion and adds trumpets. As the piece goes on, he continues to layer the texture with other instruments, providing a bass for the brass. Noted for its, high legato brass passages, the recording that I have of the Minnesota Orchestra is played brilliantly. Rodeo is a fun, energetic piece written for the symphony. It is most noted for its Beef commercial theme song. Appalachian Spring utilizes many of the same open harmonies with open 4ths and 5ths that marks Copland’s music. The melody is often recognized as the “Simple Gifts” melody. Sometimes there is great music sitting right in front of you in your iTunes and every so often, it is good to explore just what is actually on your iTunes.
Sunday, February 19, 2006
Concert Feb. 17, 2006
This Friday night’s concert broadcasted on MPR was the Minnesota Orchestra under the direction of Osmo Vanska.
The first work that the orchestra performed on this chilly February evening in Minneapolis was Aaron Jay Kernis’s Sarabanda en Memoriam. Kernis explains in his notes that the music, although here for orchestra, was originally written for string quartet. The original quartet was inspired by the dances of the Renaissance and Baroque, stating that “the second movement alternates two different slow Sarabandes (slow dance in triple time) with short bursts of frenetic, furious music.” This piece, however, was also deeply influenced by the events of September 11th. Due to this, Kernis does a beautiful job of creating a mournful and serene setting of strings. It is a beautiful piece in which the audience can hear the raw emotion being poured into this piece.
The second piece that they played was W.A. Mozart’s Concert No. 25 in C Major, K. 503. Alfred Brendel, known for his work with Beethoven, Haydn, and Mozart, is the piano soloist for this performance. This work is quite unique in its use of percussion and brass, for they are much more prominent in this setting of the piece than they are in his previous works (which I like being a brass player ☺ ) The slow movement sounds rather introspective and darker than many other second movements of his earlier works. The last movement turns around and starts to sound like his earlier works, ending in a lighter, more jubiliant ending.
The piece that the orchestra performed after intermission was Jean Sibelius’s Lemminkainen Legends. The piece is based on a collection of Finnish legends. I only got to listen to the opening 20-30 minutes of this piece (50 minutes in its entirety), but the beginning movement/story is lively, depicting the characters travels. The second story is as Sibelius says is depicting the “land of death” surrounded by waters. On those waters, a swan sits singing. The English horn, played beautifully during this performance by the orchestra, is the voice of the singing swan. This movement/story is hauntingly beautiful, juxtaposing the darkness of the land of the death and the waters with the beautiful sound of the English horn.
This performance by the Minnesota Orchestra offered a wide variety of music for any classical music concertgoer. They have done a great job catering to the maximum target audience and their performances have been amazing. They have been getting glowing reviews from critics and rightfully so; they played another wonderful performance.
The first work that the orchestra performed on this chilly February evening in Minneapolis was Aaron Jay Kernis’s Sarabanda en Memoriam. Kernis explains in his notes that the music, although here for orchestra, was originally written for string quartet. The original quartet was inspired by the dances of the Renaissance and Baroque, stating that “the second movement alternates two different slow Sarabandes (slow dance in triple time) with short bursts of frenetic, furious music.” This piece, however, was also deeply influenced by the events of September 11th. Due to this, Kernis does a beautiful job of creating a mournful and serene setting of strings. It is a beautiful piece in which the audience can hear the raw emotion being poured into this piece.
The second piece that they played was W.A. Mozart’s Concert No. 25 in C Major, K. 503. Alfred Brendel, known for his work with Beethoven, Haydn, and Mozart, is the piano soloist for this performance. This work is quite unique in its use of percussion and brass, for they are much more prominent in this setting of the piece than they are in his previous works (which I like being a brass player ☺ ) The slow movement sounds rather introspective and darker than many other second movements of his earlier works. The last movement turns around and starts to sound like his earlier works, ending in a lighter, more jubiliant ending.
The piece that the orchestra performed after intermission was Jean Sibelius’s Lemminkainen Legends. The piece is based on a collection of Finnish legends. I only got to listen to the opening 20-30 minutes of this piece (50 minutes in its entirety), but the beginning movement/story is lively, depicting the characters travels. The second story is as Sibelius says is depicting the “land of death” surrounded by waters. On those waters, a swan sits singing. The English horn, played beautifully during this performance by the orchestra, is the voice of the singing swan. This movement/story is hauntingly beautiful, juxtaposing the darkness of the land of the death and the waters with the beautiful sound of the English horn.
This performance by the Minnesota Orchestra offered a wide variety of music for any classical music concertgoer. They have done a great job catering to the maximum target audience and their performances have been amazing. They have been getting glowing reviews from critics and rightfully so; they played another wonderful performance.
Saturday, February 18, 2006
Benjamin Britten's War Requiem
Well, since I'm writting my mass class paper about this piece, I thought I'd listen to it again. I heard a performance of it in Cincinnati, about a month after the attacks of September 11th. For yall who don't know, this piece is a combination of the traditional latin requiem mass text and modern anti-war poetry. It makes for a very intersting and ironic mix. This piece is both hauntingly beautiful at times while at other times very difficult to listen to. This piece is a huge production. A full orchestra, full choir, a chamber orchestra, soprano, tenor, baritone soloist, and boys choir are required to perform this piece.
The full chrous, orchestra, and soprano sing the litergical text, while the tenor and bartione sing the poetry. Through the work they develop a relationship with each other. The Libera Me finally reveals the true nature of their relationship. The baritone is man that the tennor killed in battle yesterday. They sing that they must sleep now. The soprano soloist and the boys choir enters back in a beatiful closing sequence. The last chord of the piece is in a hauntingly surprising key. When I went to the performance of this piece at the end, for about a minute no one clapped or moved. All were still as we thought about what we just had experienced. The war requiem is trully an experience. And whether a pacifist or not, everyone is moved by the reminder of the ravages of war.
If you ever get a chance to attend a performance of this piece, GO!
The full chrous, orchestra, and soprano sing the litergical text, while the tenor and bartione sing the poetry. Through the work they develop a relationship with each other. The Libera Me finally reveals the true nature of their relationship. The baritone is man that the tennor killed in battle yesterday. They sing that they must sleep now. The soprano soloist and the boys choir enters back in a beatiful closing sequence. The last chord of the piece is in a hauntingly surprising key. When I went to the performance of this piece at the end, for about a minute no one clapped or moved. All were still as we thought about what we just had experienced. The war requiem is trully an experience. And whether a pacifist or not, everyone is moved by the reminder of the ravages of war.
If you ever get a chance to attend a performance of this piece, GO!
Sunday, February 12, 2006
Valentine's Day (early, of course) through orchestral music
So, it’s Friday night at 9:05 pm. I have been waiting for this concert to air for roughly one hour and 45 minutes now. Every Friday night, MPR broadcasts the Minnesota Orchestra live from Orchestra Hall in downtown Minneapolis. Tonight’s concert program includes pieces that honor Valentine’s Day (yes, they acknowledged that they were celebrating five days early) through music.
The first piece played was Barber’s Adagio for Strings. Whether it is your first time hearing the piece or your 81st, it is seven minutes of pure passion through music. The piece’s strength and intensity is created in a very short amount of time through mostly harmonic and melodic tension and the consequent release throughout the entire piece.
The piece starts off with a quiet ascending three note ascending line in the violins and violas. The lower strings are only added once the piece has developed the motive further, increasing the overall dynamic and intensity range. The climax occurs after about five minutes of tension followed by release. The entire string orchestra, in a very high tessitura for their respective instruments, holds an intense tension-filled chord. This chord, after a short break, is followed by a release as the upper strings return to the original ascending line, which is calm and introspective. The piece ends as quietly as it starts, leaving the audience with a feeling of serenity after the emotional intensity of the work.
One of the most surprising parts of the live performance with the Minnesota Orchestra was the unusual, yet effective long grand pause that the conductor, Gilbert Varga, took. It seemed to serve as a “clearing of the air” or a break from the emotional work. Most conductors take a grand pause at that point in the piece, but this one seemed to last for at least twice as long as normally heard performed. It would be interesting to find out why he decided to take that long a break at during that moment.
Barber was one of the first students to come through Curtis Institute and his classical training can be heard clearly through this piece. Although full of thick chords and unusual harmonies, it is very much within the classical framework which he was taught.
Tchaikovsky Symphony No. 4
To Tchaikovsky, his Symphony No. 4 was one of his greatest works and most time-consuming works. When asked about the piece, he stated that he considered this work to be a reflection of Beethoven’s Fifth Symphony, stating, “I, of course, have not copied Beethoven’s musical content, only borrowed the central idea.” The motive of “fate” is introduced in the first movement by the brass returns in the last movement.
The work opens with the famous unison brass line that is in every brass player’s excerpt book (and yes, one of the trumpet players still fracked it…pesky trumpet players). Tchaikovsky stated that the opening brass line was “Fate, the decisive force which prevents our hopes of happiness from being realized, which watches jealously to see that our bliss are not complete and unclouded, and which, like the sword of Damocles, is suspended over our heads and perpetually poisons our souls.” This line was heard throughout the first movement and will return in the middle of the last movement. After the brass opening, the movement is quite animated and parts are quite playful. These lively runs in the strings and woodwinds slowly develop into hurried lines, seemingly running away as the trumpets and horns approach again with the call of “fate.”
The second movement begins with a solo oboe, evoking a feeling of solitude and stability. The solo is slowly joined by a multitude of other instruments, each contributing to a calming and settling feeling after the tumultuous first movement.
The third movement begins with quiet pizzicato strings (hence, the title pizzicato ostinato). This movement seems to be filled with many small vignettes, which flow together throughout this movement.
The fourth movement begins with a joyous feeling with running, jubilant lines throughout the first part of the movement. Quite suddenly, the solo oboe returns followed by the frantic running lines of the woodwinds and strings as the brass forebodingly return with the “fate” motive originally presented in the first movement. About two minutes from the end of the movement, the brass finally overpowers the running lines of the strings, sounding the call of “fate” once more. The call dies down in the horns, who ironically, build up the joyous feeling in the next phrase, increasing in dynamic. The movement ends jubilantly, as if Tchaikovsky may be hoping that joy and happiness have had the last word even in music.
The first piece played was Barber’s Adagio for Strings. Whether it is your first time hearing the piece or your 81st, it is seven minutes of pure passion through music. The piece’s strength and intensity is created in a very short amount of time through mostly harmonic and melodic tension and the consequent release throughout the entire piece.
The piece starts off with a quiet ascending three note ascending line in the violins and violas. The lower strings are only added once the piece has developed the motive further, increasing the overall dynamic and intensity range. The climax occurs after about five minutes of tension followed by release. The entire string orchestra, in a very high tessitura for their respective instruments, holds an intense tension-filled chord. This chord, after a short break, is followed by a release as the upper strings return to the original ascending line, which is calm and introspective. The piece ends as quietly as it starts, leaving the audience with a feeling of serenity after the emotional intensity of the work.
One of the most surprising parts of the live performance with the Minnesota Orchestra was the unusual, yet effective long grand pause that the conductor, Gilbert Varga, took. It seemed to serve as a “clearing of the air” or a break from the emotional work. Most conductors take a grand pause at that point in the piece, but this one seemed to last for at least twice as long as normally heard performed. It would be interesting to find out why he decided to take that long a break at during that moment.
Barber was one of the first students to come through Curtis Institute and his classical training can be heard clearly through this piece. Although full of thick chords and unusual harmonies, it is very much within the classical framework which he was taught.
Tchaikovsky Symphony No. 4
To Tchaikovsky, his Symphony No. 4 was one of his greatest works and most time-consuming works. When asked about the piece, he stated that he considered this work to be a reflection of Beethoven’s Fifth Symphony, stating, “I, of course, have not copied Beethoven’s musical content, only borrowed the central idea.” The motive of “fate” is introduced in the first movement by the brass returns in the last movement.
The work opens with the famous unison brass line that is in every brass player’s excerpt book (and yes, one of the trumpet players still fracked it…pesky trumpet players). Tchaikovsky stated that the opening brass line was “Fate, the decisive force which prevents our hopes of happiness from being realized, which watches jealously to see that our bliss are not complete and unclouded, and which, like the sword of Damocles, is suspended over our heads and perpetually poisons our souls.” This line was heard throughout the first movement and will return in the middle of the last movement. After the brass opening, the movement is quite animated and parts are quite playful. These lively runs in the strings and woodwinds slowly develop into hurried lines, seemingly running away as the trumpets and horns approach again with the call of “fate.”
The second movement begins with a solo oboe, evoking a feeling of solitude and stability. The solo is slowly joined by a multitude of other instruments, each contributing to a calming and settling feeling after the tumultuous first movement.
The third movement begins with quiet pizzicato strings (hence, the title pizzicato ostinato). This movement seems to be filled with many small vignettes, which flow together throughout this movement.
The fourth movement begins with a joyous feeling with running, jubilant lines throughout the first part of the movement. Quite suddenly, the solo oboe returns followed by the frantic running lines of the woodwinds and strings as the brass forebodingly return with the “fate” motive originally presented in the first movement. About two minutes from the end of the movement, the brass finally overpowers the running lines of the strings, sounding the call of “fate” once more. The call dies down in the horns, who ironically, build up the joyous feeling in the next phrase, increasing in dynamic. The movement ends jubilantly, as if Tchaikovsky may be hoping that joy and happiness have had the last word even in music.
The Mars Volta: "De-Loused in the Comatorium"
A cool band name is underrated. A cool title for an album is definitely a bonus. A fresh and innovative rock album is divine. "De-Loused in the Comatorium", the Mars Volta's freshman album from 2003 may be a hard listen because of its heavy sound, complex rhythms and meter changes, and long stretches of instrumentals and sound effects. However, good music is good music, and there's no denying the musical talent of these guys, especially that of vocalist Cedric Bixler Zavala and drummer Jon Theodore. I will even go so far as to consider "De-Loused" the most revolutionary rock album since Radiohead's "OK Computer".
Band founders Bixler Zavala and guitarist Rodriguez-Lopez released "De-Loused" as a tribute to their childhood friend who spent many years in a coma, then woke up only to lose his sanity and throw himself off an overpass into oncoming traffic. As someone who considers musical content more important than lyrics, it doesn't bother me that I can't understand most of the lyrics. I'm guessing, though, they're pretty somber since this album is for their dead friend.
The Mars Volta have become known for ambitiously composing their albums with a musical theme or idea that strings the entire work together, almost like a song cycle. However, the band is gifted enough to differentiate each track and give each song its own character. All the songs are amazing and wonderfully crafted; the ones that stand out, however, are "Intertiatic E.S.P", "Eria Tarka", and the poignant psychadelic ballad "Televators". Vocalist Bixler Zavala has an amazingly high register; the intensity and virtuosity of his voice is something truly rare. My roommates Nick Nesbitt and Keith get such a kick when I try to hit the high notes on "Intertiatic E.S.P", since I'm a terrible singer.
The Mars Volta--think of psychadelic rock mixed with metal and a shot of free jazz. "De-Loused" is an awesome recording. However, their second album, "Frances the Mute," is, in my opinion, even better than this one. Maybe I'll write about "Frances" for my next blog.
/Brett Imamura
Band founders Bixler Zavala and guitarist Rodriguez-Lopez released "De-Loused" as a tribute to their childhood friend who spent many years in a coma, then woke up only to lose his sanity and throw himself off an overpass into oncoming traffic. As someone who considers musical content more important than lyrics, it doesn't bother me that I can't understand most of the lyrics. I'm guessing, though, they're pretty somber since this album is for their dead friend.
The Mars Volta have become known for ambitiously composing their albums with a musical theme or idea that strings the entire work together, almost like a song cycle. However, the band is gifted enough to differentiate each track and give each song its own character. All the songs are amazing and wonderfully crafted; the ones that stand out, however, are "Intertiatic E.S.P", "Eria Tarka", and the poignant psychadelic ballad "Televators". Vocalist Bixler Zavala has an amazingly high register; the intensity and virtuosity of his voice is something truly rare. My roommates Nick Nesbitt and Keith get such a kick when I try to hit the high notes on "Intertiatic E.S.P", since I'm a terrible singer.
The Mars Volta--think of psychadelic rock mixed with metal and a shot of free jazz. "De-Loused" is an awesome recording. However, their second album, "Frances the Mute," is, in my opinion, even better than this one. Maybe I'll write about "Frances" for my next blog.
/Brett Imamura
Monday, February 06, 2006
Modest Mouse; Good News for People Who Love Bad News
Well so I suck and I forgot to write my first blog. So here's this weeks blog, on Monday, so I won't forget. This album is very unique. It has some echos of Radiohead but the voices remind me alot of The Stokes. I really love the chrous numbers. Well I don't know if it's all the band members or just one singers layered. But it sounds like a bunch of people are singing. Overall the melodic material isn't very complicated, but combined with raw guitars and ambiant sounds, it makes for an interesting listen. My favorite track is probably Ocean Breathes Salty. Bukowski is also very lovely. A cello solo throughout adds an interesting and ironic texture to the lyrics "God who'd wanna be such an ass hole." The next track titled "This Devil's Workday" combines a howling brass section, bari sax and banjo together to create an exciting and daunting track. Overall, this album is great. Everytime I've listened to it this week (about 4 times) I've discovered something new. Whether it's a new melodic motive, or a lyric with strong political sentiments, there's always something hiding waiting to be discovered. I recomended it to anyone who's looking for a musical adventure.
Sunday, February 05, 2006
Blog 1/6/06
First of all, I would like to thank the AT&T company for their wonderful billboard on south 465 advertising blogging...this event would not have been possible without your generous support. While driving back from Michigan, I explored Jessi’s wonderful plethora of CDs. The one I decided to listen to for this blog was, as she described, pop music with “a guy named Joshua Kadison who sings about a different girl in each song.” Intrigued, I listened to it and sure enough, she was correct. As much pop music does, the lyrics typically told of relationships with women and surrounding events. The harmonies were very typical of popular music. At times, harmonic regression was utilized which is often the case in popular music although rarely in classical music. There are nine tracks in all, so the form of each piece is slightly different. I am going to focus on the song entitled Jessie simply because Jessi really enjoyed hearing her name in the song and therefore we listened to it numerous times. The piece starts off with a piano introduction and is followed by the first verse. After that, the refrain is sung followed by a verse-refrain pattern two more times. It ends in a terminative section in a similar style to that of the introduction; that is, the piano slowly fades out. The instrumentation for most of the pieces included piano, bass, percussion (usually set) and solo voice. We had a good time listening to roughly nine hours of music in the car over the weekend, not the least of which was the wonderful music of Joshua Kadison.
Wednesday, May 11, 2005
Im Rhein, im heiligen Strome - Schumann: Dichterliebe
this piece is really cool because of the contrast in vocal and piano part. The voice in the beginning is very strict and sustained with quarters, half, and whole notes...
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......
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
Well, I wanted to go out in style and make this blog super wonderful. Unfortunately, I was in the PAC until 3 am working on my form paper... so this is going to be short, sweet and to the point, because I really need to go to bed. SO here ya have it... my last blog...ever. HOWEVER, for my last blog, I thought I would write about a classical piece. Just because. Maybe to annoy everybody that I did musical theatre all semester, and now for the last one I finally do something classical. Maybe because I am tired, I have sung this song, and it will be easy. Maybe just to throw you all off. Maybe because it's 3 am and I am no longer coherent... anyway.... here ya go.
"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."
"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
this is the waltz form serenade for strings in E major- the melody at the beginning is pretty straightforward ( and very beautiful), with very romantic qualties. it's in 3/8, and is in the parallel minor key to start out. The main melodic motive is the 16th not "sol le sol fa me re do"The upper strings have the melody, while the lower voices have the accompaniment (2 eighths, eithe rest, etc...) The A section is a repeated double parallel period with 5 measure phrases, all ending on a pac- The next section after the exposition is development, and it modulates up to the major III- themes are constantly being reused- the exposition comes back 3 different times. The transitions to and from the different sections are seamless-it's beautiful. The ending is a huge suprise because it goes to the dominant key and ends on a huge PAC suddenly and very loudly
The Phantom of the Opera- The Point of No Return
Alright, I admit it. I’m only blogging on this piece so that I can add it to my jumbled string of melodies for tomorrow. As I’m sure many of you know, the DVD of Phantom of the Opera came out last week, and after watching it Friday, I’ve had the melody stuck in my head since, which would explain why I had the desire to add it to my melody transcriptions. So why do I have it so stuck in my head. For one thing it’s very beautiful and sensual. But aside from that, it is the simplicity of both the melody and it’s accompaniment, allowing any feeble mind to recall it and sing it inside. The accompanying strings serve only as a compliment and follow the voice to give it the haunting sound. Of particular concern to me was obvious the main melody, which comprises the A section, and is repeated twice by the phantom. However, another thing of interest in this piece is the changes of voices and tone, which adds to the feeling of two battling forces of good and evil. After the phantom finishes the A melody, which represents the calling of the dark side, with the marching pace of the strings illustrating Christine’s mesmerized walk towards the phantom. Then, in the B section, Christine sings a new melody with a different tone, that is much less smooth and melodic (her exaggerated vibrato adds to the shaky feeling and inner imbalance, representing her inner questioning as she chooses. In the final cadence, as the music sinks lower and lower and returns to the haunting minor mode, she has made her decision to go to the Phantom. She now sings the “Past the Point of no Return” A section, residing back into the mesmerized death march towards her destiny, now accompanied with drums, and with each accented beat leading to her dissension further and further into the depths of darkness. Then the Phantom voice comes in, and each sing a duet of the A melody. This signifies an arrival into the arms of the Phantom, and a final few notes on strings as a closing section signify that it is over (of course, the music turns out to be wrong as it couldn’t fight off a force stronger than darkness, a fairy tail ending, as we find out later that the handsome guy ends up with the pretty girl… who’d of thunk it. I always knew the Phantom would remain without a bride.
Sister of Night - DM/Rachmaninov Prelude in gm
I don't think I've blogged on Sister of Night by DM, but I may have, so I'll blog so that I can turn in my transcription and then blog shortly on another in case I've already done this one. As far as I can look back through the blogs I haven't done it so...
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?
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...
tchaik 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;)
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
Really quick song, because my mind feels like it has melted from all the writing I've done this evening. This song is such a cute strophic number, with one melodic line being repeated 3 times. The verses are 2 periods, the first with a HC, followed by a PAC. The second is assymetric, with a HC, followed by a deceptive cadence, then a PAC. The "chorus" is simply a phrase, with a HC that is pulled out by ritardando, then the tempo returns for the consequent phrase and PAC. Really simple song, very cute. My life hurts...
Tuesday, May 10, 2005
Flute Concerto in D, 3rd movement
Mozart
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.
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
This song is entirely a capella. I hear Billy Joel on lead vocals, finger snapping, and four background vocalists, including a very low bass. I don't know if some of the background vocals are sung by Billy Joel himself, but I can easily see him singing the higher voices.
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)
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
Aaron Copland really captures the aural image of America in his famous "Appalachian Spring." You can almost here the open fields and endless possibilities in this pulitzer prize winning composition. It is a truly a masterpiece that beautiful weaves the simple shaker theme throughout the piece. Once and a while you can hear the influence of "Simple Gifts." There are exciting moments juxtaposed to sweet mellow movements. Copland opens the song with very simple chords, with a very simple melody placed on top. This leaves the listener with a very pastoral feeling to the music. I am particularly fond of the ending. The gorgeous flute line is very somber, almost sad. It is a very emotional piece, in my mind representing the simple cyclical progress of nature coupled with the pastoral beauty of the United States.
“Banana Pancakes” by Jack Johnson
“Banana Pancakes” by Jack Johnson is in four-four with three beats of pick-up notes played by the guitar, mi-sol-mi-re-do-la. These notes give a little preview for the notes that are most often used in the melody and they are also important because they give the song its slightly swingin’ beat. It’s got some bluesy/jazzy chords and a swing quality because the eighth notes are not straight but more uneven. There are about four measures of guitar before the verse comes in. It sounds like there could be some sort of acoustic bass which plays mostly do-sol-do-sol so the chords are mostly tonic and dominant. The only other instrument is some sort of drum which definitely has a few pitches, maybe congas. The song has a very laid back, swingy feel. There are not set verses, but there seems to be one main melody for most of the phrases, mi-sol-la-sol-mi-re-mi-re-do, mi-mi-mi-mi-mi-mi-do. There is not one ti throughout the entire melody, mostly la-dos but no ti-dos. The chord changes are not very fast or very often.
This song is great because is a mixture of genres but it has that overall laid back Jack Johnson feel.
This song is great because is a mixture of genres but it has that overall laid back Jack Johnson feel.
Taffanel - Andante pastoral
The piano begins the piece by itself playing a short intro that is then echoed very softly by the piano. The flute solo enters after this in a minor key. The melody throughout the entire piece is extremely ornamented and embellished in one way or another. At first, one of the main ways Taffanel does this is by incorporating scales into the melody. The scales usually lead up or down into the main beat that we hear as part of the melodic line. The piece ties the low and higher octaves together very well. It's all very fluid in the movement from one to the other. A considerable amount of time is spent in the low octave, but because of the way the different registers are connected with arpeggios and such, the higher octaves don't stick out at all. Instead, the low octave flows right into it. The tempo fluctuates a lot at various points during the piece. The flute truly has the lead role in the piece because the piano accompaniment is basic chords and follows the flute's tempo changes well. This is also what probably enhances the overall bittersweet and poignant feeling this movement creates. The intro of solo piano is balanced, yet contrasted by the ending, which is basically performed only by the flute.
I got a Gal... In Kalamazoo- Glen Miller
Thats me! A real pipperoo...
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!!)
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
This piece begins with a piano introduction that sounds like Reniassance flute music. It consist of a parallel period. It then goes into chords that seem to initiate the start of the melody. As anticipated, the hymn tune then follows. It is played very basic and simply for the first verse. The second verse makes use of arrpegiated chords in the bass line. Then the 3rd verse does something very shocking and is grounded by harmonic chords that sound very 20th centuryish and aren't tonal at all. This makes a very eerie effect. The next verse continues with the 20th century chords with no melody in piano. The melody is now played by flute. Then there is an interlude where the piano returns to the original dance like introductory theme. The flute plays a final theme from the melody and the piece ends with a baroque arrpegiation on piano. The greatest thing about this piece is that by adding the additional theme to the familiar verses the piece takes on a rounded binary feeling. I wish I had an arrangement of this piece. It really puts a person in high spirits.
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