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."
Wednesday, May 11, 2005
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.
Tuesday, May 03, 2005
Trumpet Concerto in A-flat Major - Arutunian
I decided to cover this because I may want to transcribe the melody, and I heard it performed for the 2nd time in my life at Kelsie Gray's trumpet recital tonight. And it's hot.
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.
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
So, i'm listening to diana krall sing this, right now. i'm singing this with the combo, and it's just such a great song!
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.
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"
I thought I try my hand again at 20th century literature. In this unique piece, we find a small ensemble playing rapid notes. Michael Torke does an excellent job of using the individual instrument timbres to create unique voices, and motives amongst chaos. The piece has no typical form or harmonic structure. No melody or countermelody. Instead it has character. Although it is chaotic and seemingly non-understandable, it does make a little sense. It is almost as if the composer took the Yellow Pages and started to flip through, with each company a new motive. The yellow pages is large, sometimes confusing, and it is often difficult to find what you are looking for. Torke does a stand up job of creating a piece of 20th century chamber music reflecting the busy and chaotic business world of today.
Schumann Dichterliebe
Tenor-Ian Bostridge
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.
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
the movment starts off with a bass and cello soli obscuring the beat. tehre is a very dark and russian atmosphere. we then start the feel the meter as the winds play some stable rhythms. there is a lovely basoon duet. the strings come in and play a little more frivously. then we go into a strict waltz tempo. the basses walk up and down as the winds play shrill in the upper register. a powerful horn call restates the atmosphere. the strings are playing the melody that is a bit off axis. there is a dimuendo and thinner orchestration as a solo violin winds us down. then the flute comes in and plays the solo verbatim. then the strings come in unison forte and very agressively. the winds then come in and play the same agrresive passage. the strings play undulataing scales while the winds play a more detached style. the bassoons then come in and play the same meloyd that was played at the beginning by the low strings. this whole section is a repeat from the beginning though orchestrated differently. there are winds and pizzicato strings for a mysteriously light sensation. the loud tutti comes in while the interest lie in the winds as the bass have counterpoint. the trumpets then come replacing the horn call. the meloyd is then repeated in the strings and crescendos to a return of the horn call. then there is an oboe solo like that of the violin earlier, though slightly altered. then there is a race to the finish as a shout chorus is heard ff as very aggressive.
"High Fly," Randy Weston
When people write textbooks about jazz history in 1000 years, I bet there will be entire chapters on the ii-V-I progression. In large part, it has defined jazz harmony since its beginnings, and will continue to do so, even though composers nowadays stray as far away from that progression as possible.
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.
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
This is a great show..I really like it...It just been a long day and no time for anything...
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..
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"
"I'll Tell The Man in the Street" performed by Kristen Chenoweth on her CD "Let Yourself Go"
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."
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
This musical has a sort of synthesized bell sound in the background that repeats in quarter notes with a simple chordal structure through a good portion of the piece and is then taken over by the piano parts. This background gives the piece a never ending upbeat angelic quality for the entirety of the piece. The accompaniment and vocal melody are very simple and repetitive. The piano or bells play one chord and then Ray Boltz sings a few notes off that chord before changing. The simplicity of the song is enough to be beautiful but also to draw attention to the important words about how the greatest gift we can give to other people on earth is to share the love of Jesus Christ. The music is soft and pensive as the words are reflective and then loud and exclamatory in the chorus part, saying “thank you for giving to the Lord.”
Sunday, May 01, 2005
Sibelius
ok, so i have to play for my grandfather's funeral this week...not excited...not a good weekend...so blah. I'm lucky that I'm even doing this. Well, I played Be Still my Soul today, and Caitlin played the New World in her proficiency yesterday, and I think it reflects my mood. Its such a beautiful and lush piece. And yet the melody is so simple. It's interesting, some composers write music that is so complex and flashy with huge chords and such so that they are remembered and are beautiful pieces, while the New World melody is so simple, and yet it is beautiful and loved by many. I think this is a parody in life...you don't have to be flashy and constantly complex for people to love and remember you...you can be simple and beautiful and people will love you and remember you. ok, goodnigt
Jason Mraz- You and I both
This song has no introduction which I think is good for my somewhat impatient mood this evening. This song doesn't even have any instrumental bridges or HUGE guitar solos that are so common with this silly singer/songwriter/guitar playing boys these days.
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. :-)
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. :-)
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