Bach 's Complex Compositional Style

It comprises recurring pulses and accents that create identifiable patterns. Also, without rhythm there is only the rise and falling of tones (119). The song is the same measure repeated over and over in slightly different ways. There are two characteristics that tend to change throughout this song, tempo and the dynamics. Tempo is the rate of speed of the composition (120). The song begins in the tempo Lento, slow, and begins picking up speed and rising to andante, moderate, tempo. Dynamics is the degrees of loudness and softness in the music (177). In this particular song the tempo and dynamics build off each other. When one changes the other changes with it, creating layers to the sound you hear and making each note pleasing to the

Often music is consisted not only by sounds made from musical instruments, but also by voice and verbal messages. The structure of the voice, or as Roland Barthes describes it ‘the grain of voice’ is the element in a certain piece of music which is responsible for creating the emotions when listening. The grain and the lyrics make the signified and carry out the message. The vocal part of music is formed of words, text, which communicate and make the representation and expression of what it is sung - talked about. According to Barthes the emotive modes of the voice and the changes of the tones from low to high is what delivers the final message and makes us feel the music. (Barthes, R. 1977 [1972]).

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

In addition to the elements of music, musical concepts such melody, harmony, and texture are also important to “The Piece of Resistance.” The song’s melody was played in a smoothly, connected manner, which means it is best described as a legato. This smooth melody resulted in a consonance harmony in the piece. There is a distinct main melody played throughout the song played by the drums being accompanied by the other instruments. Ultimately resulting in the different sounds competing for attention, which is a characteristic of the piece’s polyphonic texture.

The harmonic rhythm is not very steady as the chords only change in bars 7, 10 and 11. The chord changes from D to A and then from A to E and E to A (shown in the musical excerpt). These chord changes are changes from either the dominant to the tonic or the tonic to the dominant, showing the typical barque chord changes.

The concert started off at a quick and stimulating pace with Brahms’s Sonata for Two Pianos in F Minor. The piece starts with descending arpeggios echoing a sensation of distress or confusion. There are frequent slight pauses, creating a sense of suspense for what is to follow and building on the emotions

The final part thrives with cyclic harmonic sequences, so appropriate for Binney’s resolute attacks and imaginative phrasing replete of intervallic wisdom. Vocal samples and electronics are tastefully

The lowest note of the fanfare at 0:32 indicates the ending of the instrumental verse and helps transition into a new section of the song, which would be the addition of choral voices (0:38). The melody continues at a lento pace, or very slow, and step-wise. The verses follows the pattern of AABA; the second A sounds at 0:53, and the B and last A parts begin at 1:09 and 1:24, respectively. At 1:42, the instruments interrupt the chorus and proceed into an instrumental verse, which mimics but slightly alters final A part of the verse, playing in flat and sharp notes to indicate suspense and prepare the listener for the key change of the next and final choral verse (2:02). At 2:36, the loudest

The work is identified as having a tonal centre of and ends with final cadence with C major chord. This creates a straightforward and warm feeling that will match well with the beating pattern. The tempo of the work is marked as briskly, which indicates that the work would be quick and active. This tempo lays a foundation for therapists to form a lively atmosphere while playing the piece. The composers used 2/4 beat for the rhythm of the song. This allowed the piece to be rich in both musical melody and rhythm; there is no a sense of dragging in the piece and every beat is simple and easy to follow.

Villafranca and his band kicked in at a mid-slow tempo with the first movement, ‘Cinqué – The Capture – Troubled Waters’, superbly outlined through a balanced groove adorned by the expected Afro-Latin outfit, slight classical intonations on the piano, and enhanced by inspired solos of both Vincent Herring and Greg Tardy, who know how to catch us with their absorbing sound and improvisations.

A feisty and intense rhythm, projected with the force and passion of Sanders’ wanders and the sturdy bass-drum flow, initially takes over “Igraine Gives the Infant Arthur to Ector”, which decreases when the vigor is forever put on a halt to emphasize soaring, introspective moments delineated by clarinet and bowed bass.

mark on the musical world. From Mozart, to Beethoven, to Chopin, to Brahms, each famous

Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious

Johann Sebastian Bach was born on March 21st 1685. He is the son of Johann Ambrosius. For many years, members of the Bach family had held positions such as organists, town instrumentalists, or Cantors.

A great contrast was found in the second movement, a hymn-like happy mediation of andante. Three phrases of the tune which was given to clarinets and bassoons, has its cadence echoed by low strings. Passages developed from the first theme then led gradually to its return in its original calm mood after a brief climax. A brief coda was made by a new and happy melody referring to the main theme.