pieces can be identified. Some of these characteristics are: * Very expressive- dynamic contrast in both the written and interpreted music; * Melodies with complex rhythms were the main emphasis with rich harmonies under it; * Complex use of chords as an accompaniment to the melody; * Emotional- has a story to tell if played with feeling- use of rubato allows expressiveness; * Use of major and minor keys- often modulating into the enharmonic equivalent‚ major or minor‚ or the dominant
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taste too such as one composer love the way dominant chord run to sub median chord and then resolve to dominant again then end with tonic chord but another one like the way to begin the phrase with sub median then dominant for two bars to extend the dominant longer (could call it as dominant prolongation) until tonic in the last bar. The question is what is the best chord progression of those two ideas? ‚ and how do we judge what is the best chord progression? And interesting question is how do we
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I see it as a bridge phrase is for three reasons: ascending patterns‚ the augmented sixth chords to five‚ and the E natural in the last chord sounds like a leading tone. Between measures 23 and 26‚ the downbeats are ascending by step‚ then in measure 27‚ there is an augmented sixth chord. Then measure 28 is a five chord‚ measure 29 another augmented sixth chord‚ and lastly in measure 30 another five chord. This right here is a clear example of an extension by repetition. It seems like Haydn
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AFFECTIVE KEY CHARACTERISTICS from Christian Schubart’s Ideen zu einer Aesthetik der Tonkunst (1806) C Major Completely Pure. Its character is: innocence‚ simplicity‚ na�vety‚ children’s talk. C Minor Declaration of love and at the same time the lament of unhappy love. All languishing‚ longing‚ sighing of the love-sick soul lies in this key. Db Major A leering key‚ degenerating into grief and rapture. It cannot laugh‚ but it can smile; it cannot howl‚ but it can at least grimace its
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relies more on the subtleness of texture then of the form. The structure is as follows: Verse 1 Verse 2 Bridge 1 Verse 3 Bridge 2 Verse 4 Outro jam into fade out. Verse 1: Verse 1 as with all the versus follows a simple chord progression using chords I‚ V‚ V7‚ V7sus4 and IV in the key of Fmajor. The vocal never really rests on any unstable tones for too long during the versus‚ instead only passing on the unstable tones and then quickly resolving back to the diatonic key. The first
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with the first creation of life‚ the A chord is emphasized in an almost eerie way‚ anticipating the next day. Finally‚ day six is introduced with a resounding B minor chord. I try to emphasize this as the culmination of creation thus far‚ as man is created in the image of the Trinity. This is illustrated by the B minor chord being built off of three parts of the trinity‚ adding only the note “B” to the mix. At this point‚ I return to the D major chord to represent God’s enthronement on day seven
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The Entertainer Analysis Scott Joplin was most well known throughout his career for writing unique Jazz compositions and was known as the “King of Ragtime." During his brief career‚ Joplin wrote 44 original ragtime pieces‚ one ragtime ballet‚ and two operas. One of his most well known and popular pieces today is The entertainer which has gone down as one of the all time classics of ragtime and indeed in Jazz. The entertainer was written in 1902 while Scott Joplin was in St Louis and was intended
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bVI (major chord built on b6) in B major and a bIII (major chord built on b 3) in E major. These chords are normally minor chords in the major key. The same two chords in the minor mode are diatonic‚ and hence labeled as VI and III. A Roman numeral preceded by a b sign refers to chords built on lowered scale degrees and affects the root of the chord. The keys in this piece are E‚ G and B. The tonics by themselves even make a minor i chord built on E that looks like a borrowed chord from E minor
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lightning‚ the woman screams and faints. A scene that needs not words to describe when skillfully punched out on the pipes of an organ. The familiar piece‚ written by the baroque composer Johannes Bach‚ rings out a haunting air whenever its low rumbling chords are heard. The petering melody lines flutter wildly like bats‚ building suspense for grand crashing resolutions. The song begins with the familiar melody on parallel notes stretching the range of the keyboard‚ before breaking apart dissonantly before
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up and down which really pins down that emotion of mixed emotions. There is also disjunct‚ when the one guitar plays downward notes and the other guitar strikes a high note. Harmony- Major and minor chords and major/minor vocals are played during the verses. During the chorus the vocals and chords are played in major.
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