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    a 14 second duration of a pause at the start of the piece. * Durational patterns of the chord changes near the start of the piece‚ tend to repeat themselves as the piece progresses. These chord changes‚ create temporary regularity and structure till the piece changes it’s durational patterns which can be found at; 34 seconds in‚ the chord transitions become metso staccato and then go into a sustained chord till the next change occurs. * From the excerpt I have taken out of this piece‚ which is;

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    143 Mozart K332 I Exp

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    octaves in the LH‚ frequent register changes (and an overall wider register than used for either of the previous themes)‚ and significantly more 16th-note activity than was previously the case. It uses broken chord figures in both hands. vii°6/5 of d helps establish the new key. The D-minor chord functions as

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    History study guide

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    baroque "fully French‚ anti-Romantic in clarity‚ accessibility‚ emotional restraint" to establish French patriotism after the war. French music as intrinsically classical while German was romantic. Messiaen: lack of traditional harmony resolutions; chords are repeated to create sense of stasis or meditation. Germany - Neuensächlichkeit (new objectivity) opposed to complexity and promoted use of familiar elements (popular music‚ jazz‚ classical‚ baroque). Music should be objective in its expression

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    horizontal approach. In A1 of the second chorus Davis’ explores the upper extensions of the chord (9‚ 11‚ and 13) and superimposes a D major triad on the E minor chord. In A2 he returns to the pentatonic style we see in the first chorus with the use of the blue note (Bb) giving the section a bluesy feel. In the B section he again emphasis the upper extensions this time superimposing an Eb major triad over the F minor chord. In bars 5-7 of this section he plays an F minor scale in thirds. He plays a run making

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    from arpeggios to chords in the bass part. Tempo – It starts off quite slowly and then picks up on the second line and continues at that speed until the quavers in the right hand begin giving the piece a slightly faster feel. Then it slows down again and in a similar time frame picks up again until it drops back to a very slow ending. Form - After a 4-measure introduction‚ a theme is presented. This theme is played over a 2-measure ostinato bass‚ consisting of the chords F# minor‚ D major‚

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    Alexander Scriabin

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    actually written without a key signature‚ and can be said to be atonal works. The most conspicuous thing is an innovation of mystic chord. He used this mystic chord to express his feelings‚ and evolved the whole composition out of this one extended harmony. Especially the fifth sonata is considered as a landmark of modern composition in its atonality and mystic chord. It marks the end of his Romantic period and the beginning of his transition to an atonal style. Many composers

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    other phrases through the B sections. Section A – bars 1-11 Pitch – the key of the piece is D major‚ as shown in the key signature‚ with the non-transposing instruments having 2 sharps. This is also shown by the first and last chord of the piece being a D major chord. Bars 1-7 are in D major‚ however through the use of G #

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    modulation to the original key. The regle is always working also in the sequence‚ it is just applied chromatically according the harmonic context. After two repetitions of the first phrase‚ with a small difference in MM. 17 and 34 with a 6-chord instead of a 5-chord on the second subdivision of the second beat‚ we have the last section of the aria‚ before the da capo. In this last section there is a modified sequence (MM. 35 to 39) followed by a cadence that leads to the end of the piece. In general

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    Si Mama Mo

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    Music - Defined in various ways‚ depending on its role in a given culture as well as on highly subjective individual opinion - The prevailing (Western) idea of music is as an art of organized sounds 2 Characteristics of Sound - Pitch - Highness or lowness - Dynamic level -Loudness of softness Pitch -The pitch of a sound depends on the rate of vibration‚ or frequency‚ of the sound-producing medium. - A faster rate of vibration causes a higher pitch‚ and a slower rate of vibration causes a lower pitch

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    and make suggestions as to how the performance could be improved.  To review individual progress on Composition 1 and set appropriate individual targets. Brandenburg 2 Write a brief definition of: Tonality Modulation Harmony Chord Root First Inversion Seventh Chord Oh no it’s a Theory Byte Technical Name for the notes of the scale. T ____ S _ _ _ _ _ _ _ _ _ M _ _ _ _ _ _ S _ _ _ _ _ _ _ _ _ _ D _ _ _ _ _ _ _ S _ _ _ _ _ _ _ _ _ L _ _ _ _ _ _ N___ Key Relationships Key Signatures

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