Air For Band Analysis

Right now I want to introduce this work with more detail information. This band work of Scenes from the Louvre created for the original film score for the 1964 documentary. Scenes from The Louvre was premiered March 13, 1966, conducted by the composer. So there are five movements in this works. The first one is an introduction focus on the film score. Another three movements are based on the Renaissance tunes. The movement 2 called Children’s Gallery is a theme based on Tielman Susato’s “Ronde and Saltarello.” Themes by court composers Jean Baptiste Lully and Pietro Antonio Cesti serve as a base for movement 3, “The King of France,” a chorale and development. Movement 4, “The Nativity Paintings,” is based on “In delci jubilo;” the same theme used by Dello Joio in “Variants on a Medieval Tune” and for all thirteen movements of “Colonial Variants.” The final movement, “Finale,” is based on Albrici’s “Cestiliche Sonate.” Primarily written around the keys of C, G and F

Beginning solely by a haut instrument, Susato successfully conveyed a bright sonority to the first dance [Susato, Three dances. 0:00-0.06]. Added percussion instrument at the seventh second, the music was given its first touch to be vivid and plump. It was performed by outdoor woodwind bands including tabor, cornetto, sackbut, shawn, and tambourine. Though there are three dances contained in Susato’s work, and dances flowed from one another, it is not hard to distinguish because of their clearly full-stops between each part. Three dances, composed during Renaissance period(1551) by Susato, is a three rondes music in binary form(A-A-B-B). Its repeated melodies were played by permeant improvisers at that time to help enrich the music with colors

The first movement began with a very strong texture as the music reflected a very powerful theme. It began with the heavy instrumentation from the strings including cellos, violins, and basses. The tempo was also relatively fast and generally upbeat. About a minute and half in there was a very noticeable solo by the violins which was a bit softer in terms of the texture. The melody seemed to be very upbeat and cheerful. Lasting the form of the movement was very well structured and the instruments backed each other up smoothly.

The dance piece was composed of several story lines and plots. There was a piece in which it there was a guy and a girl who with their dance movements expressed hate and love. Other dances expressed the path to finding freedom, loneliness, and time.

The assignment i choose from Band class for Zona de Logros would be the Yakety Sax which was a chamber music piece.Chamber music is an instrumental music played by a small ensemble with one player on each part.In this case we had alto 1,alto 2,flutes were also alto 2,tenor 1 and barrie 1 in which climate was also part of it .I choose this piece because my performance throughout the whole process showed responsibility ,advocacy and stretch .During practices, it became more and more independent each time so we had to be more responsible about how we use the time in class and I and others students who were in the band group gave ideas about how and what we should do in class which shows advocacy .We also had to

Asses Tod - Play this piece with an appropriate dark ensemble tone color, and a wide dynamic range is required from the performers.

As the key modulates from minor to major, the tempo transitioning from allegro vivace to molto meno, I regain control of my quivering fingers and rattled mind. The violins belt out the melody at an ear-splitting fortissississimo, but the violoncello solo transcends the orchestra. Images of laughing faces and flickering candles wash over me. A smile tugs the corners of my mouth because despite the pain of the past, I feel blessed to have such warm memories close to my heart.

When she reenters, the violin is much more legato, crescendoing as the anticipation of the piece builds. The main highlight of this song is the alternating staccato and legato sections, which are often forte and mezzo piano respectively. The bridge crescendos overall, but only from a mezzo piano to a mezzo forte. The tension builds, but is released in with a sigh-like moment, instead of the more aggressive chorus that follows immediately after. During the intro and breaks where the melody get more simple, the rhythm becomes more sparse than it otherwise is in this major piece. The rhythm is relatively simple compared to “Blue School” or “Fear of the Dark”. This piece seems to lack a definite harmony, although it’s at first quiet and simple rhythm and melody are glaringly easy to pick

One of the first pieces played it instantly captured my, and the rest of the audiences', attention. As the name indicates this piece is a waltz, the standard triple meter form is introduced by the violins. The main motif is then introduced by the horns with the woodwinds replying shortly with pieces of the secondary motif.

In their adaptation of Kapsberger’s Canario, Pluhar takes improvisation to a completely jazz and world music style. Dancing to a rhythmic baroque guitar, the musical form of the piece invites individual instrumental solo improvisations including an electric Hammond organ. Further, the use of konnakol and percussion for solo improvisations takes authentic baroque performance practice outside the picture. The use of percussion for improvisation would not have been used during Kapsberger’s time. Following this observation, it may be argued that Pluhar has gone too far into mixing different genres that the jazz-spirited recording can seem disjointed. L'Arpeggiata's attempt to revive Baroque ornamental fluidness through a contemporary improvisatory style seems ineffective when the audience takes this crossover album literally. The purpose of this album is not to attempt a revival of the baroque in the original style, but to create a new eyepiece where baroque music can be viewed through a contemporary

Two versions of the piece will be created.There will be two versions of this piece. The first will be the composer’s original manuscript, the control. The other version will be same piece but will be void of a title, tempo markings, articulations, or any other indicator of the composer’s intent. The object of this process is to rid conductors of any preconceived notions he or she may have based on the markings on the score. The score will be sent to ten conductors of varying school/performer ability levels: two middle school directors, three high school directors, four collegiate/professional

In the piece the performing force were for sure the clarinet, played by Rich Moore, and piano, played by Philip Spencer. In the beginning it sounded very elegant and peaceful. It gave the feeling of being submerged in nature on a sunny and warm day. The mood of this was definitely happy and joyful. Further along the viola, played by Jackie Moore, make an appearance and it seems to be in conflict with the clarinet. It felt like a fight between good, portrayed by the clarinet, and bad portrayed by the viola. This completely changed the mood from joyful to suspenseful and dangerous. The piano, during this part, felt like the narrator of the “battle”. The tone color changed a bit from the beginning from warm and smooth to warm still but added a bit of coldness with the viola added. Throughout the rest of the piece it was a lot of back and forth, but it seemed to come to an end when both the viola and clarinet come to a happy ending. The texture of the composition was, for the most part, entirely was polyphonic with at times homophonic, an example was in the beginning with the piano and clarinet. Since this was composed in 1786, in the classical era, the rhythm had sudden changes and gradual increases and decreases in energy especially during the “battle” between the viola and

For the first time in music history, movement three sees the emancipation of the low strings. The introductory statement of the movement is not made with violin, high wind, or even viola; it is made with the celli and basses. The two instruments lend a sort of dark cast to the line that sounds anticipating, almost in a foreboding sense. The anticipation is met with the original motif at measure nineteen played by horns and accompanied by strings, which is then texturally expanded into the entire orchestra, much like it has been at time in the previous two movements (mm. 19 – 44). This movement, again conveniently in three, allows the motif to be interwoven throughout in much the same way as the second movement while the theme from the beginning measures is also developed. Further diversity is generated through the use of

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

The album is a massive collection of more than 100 tracks, with length up to 240 hours. The tracks on the disc have been played with more than 600 musicians and 60 orchestras. This project