Dizzys Club Coca Cola Essay

An offering consists of the benefits or satisfaction provided to target markets by an organization. It consists of a tangible product or service (a physical entity) plus related services (delivery and setup), brand name(s), warranties or guarantees, and packaging. Focusing on the term offering rather than just the product or service forces the marketer to go beyond the single tangible entity being marketed and to consider the entire offering, or extended product or service. When the focus is on the benefits and satisfaction offered it establishes a conceptual framework. Marketers can then potentially use this framework to analyze competing offerings, identify

On Sunday October 2nd at 7:00pm in Weill Hall, I watched Omara Portuondo with special guests Roberto Fonseca, Anat Cohen, and Regina Carter. Omara Portuondo was the only female in the Buena Vista Social Club. The Buena Vista Social Club consisted of the most famous Cuban musicians at that time. The Club hosted dances and musical events. Omara’s special guest Roberto Fonsea is known for being a multi-instrumentalist. While Anat Cohen is known for unique playing of the clarinet because she fuses Latin jazz styles together. Regina Carter is known for being a talented jazz violinist. All the music that was song that night was in Spanish.

This song is an example of Afro-Cuban that has a clave rhythmic pattern. This performance started off with the bass and drum creating the beat for the entire song, followed by the piano and then the brass instruments. Drummer Clyde Conner performed a solo showing his ability to play a soulful piece but having the Latin twist to it, which was very impressive. Ben Grier also had a solo where the sounds of Afro-Cuban jazz seemed so fluid though his performance. He also immensely impressed the crowd when he played a high note and held, which caused for a round of

In the first section, A, I recognized the usage of a piano, synthesizers, and a drum set. Different parts of the drumset, like the cymbals and the bass drum, are playing at a pianissimo and slowly crescendo up to a mezzo piano. In the music, the drum set plays a big role in the leaps it presents when it starts creating a beat. The synthesizers create different sounds which add to the music of the song. The sounds created sound, out of this world when they crescendo and decrescendo in section A. The last instrument plays a big part as the harmony. The piano is the harmony which is played at a dynamic of piano and mezzo piano. Although the tempo is Allegro, this part of the music is calm and happy, making

The first form you’ll hear is the A part, Andantino, where it starts very deep with the piano introducing the soloist and the violinist comes in very soothing and relaxing. Then quickly, the next passage starts with Un poco meno lento, a foot stomping place where the dance is abruptly emphasized and intensifies to suspenseful ritardando. The B part is introduced with a more gracious passage, and slows down to a more Lento e tranquillo section which is heard through the violin’s fast paced notes. Lastly, the A part is heard again through a higher register on the violin, and graciously ends with a delight trill and

Unfortunately, this strong finish was followed by a weak open in the second half with two pieces by Gerry Mulligan. However, the ensemble recovered with its investigation of Duke Ellington’s “Caravan.” Nicknamed a “tonal portrait,” this piece was just as visually stimulating as it was auditory. The piece started with an African beat provided by the percussion, bass, and piano. Then the trumpets and trombones chirped, mimicking the sounds of animals. Throughout the entire piece, the listener almost feels as if they are in an actual caravan, seeing the landscape around them and feeling the rhythm of the

Truly impressive is “Students of the Macabre”, an inviting dance elaborated with groovy ostinatos and clever improvisations by the bandleader, who exhibits resolute spontaneity, and Pino, who delivers the best solo of the record.

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

An impromptu divagation by a trio of explorers - violist Mat Maneri, saxophonist Tony Malaby, and cellist Daniel Levin - drew effusive applause from an attentive audience that could see them very close once they placed themselves right in front of the first raw of the audience. Their avant-chamber-jazz incorporates buzzing crescendos, sudden fragmentations, and symbiotic linearities, where everything lives in constant mutation and adaptation.

Boasting a full-bodied acoustic sound and an infallible understanding of one another’s movements, the band begins this journey to the past with the reggae-ish “Roland Alphonso” by Cherry, who composed it for the Jamaican tenorist referred in the title. After blowing the theme’s deep-seated melody with crisp delicacy, Knuffke embarks on a trippy improvisation that will keep you engaged and enthralled, at the same time that stimulates his peers to push forward. After Anderson’s curvy bass solo and the reinstatement of the theme, the final vamp briefly allows Nussbaum to intensify his unostentatious brushed attacks.

The constructive duo opened with one of the honoree’s compositions entitled “Drago”, which exposes the theme’s melody in a gorgeous unison and is designed with absorbing grooves and stimulating swinging sections.

The dynamic and energetic first movement starts in a different key than it’s home key of E flat minor, and was woven in sonata form. It is known for having many staggering several key and time signature changes and rhythmic figurations that mostly consist of dotted 8ths and 16ths, triplets, and groups of 16ths while contrasting with very mysterious sounding lyrical themes in-between. These alternations are very unpredictable and constantly keep the listener guessing. The second movement, which is in rondo form, maintains the mysteriousness of the first movement, but maintains a very playful and mischievous attitude, rather than an intense and fiery one. It keeps flowing and flowing like water without stopping to slow down once, all while maneuvering between double and triple meter and skipping around the range of the keyboard. The third movement’s aesthetic is one of heart-wrenching lament through lots of sobbing chromaticism, dissonant shades, and dark, tempestuous chords. Stylistically, it is the most modern-sounding movement of all and employs the 12 tone technique like the first

big market share, such as Pepsi Cola, Mt.Dew, and so on. I like to drink Coke

The Variações Rítmicas Op.15 is one of the most significant Nobre’s composition from his second period. In this piece, Nobre explores serial techniques and percussive elements. The piece is a mix of Brazilian native rhythms and dodecaphonic music where Nobre explores the Brazilian percussion instruments. “Besides the piano, Variações Rítmicas Op. 15 requires eight typical Brazilian percussion instruments: cuíca aguda (a friction drum which the performer plays with his hand inside the instrument), xocalho (maraca), afoxê (also known as cabaça, it is a maraca covered with a network of beads), reco-reco (a scraper also known as guiro), five agogôs (cowbells), pandeiro (tambourine), tamborim (very small high-pitched drum), and three atabaques (conga drums).”

Coca-Cola Enterprises Inc. INTRODUCTION The main aim of this Advanced VCE Business project is to produce a detailed report on a medium to large business including such things as descriptions of the businesses objectives, identifying the businesses type of ownership, explaining the work of the functional areas in the business etc. The business I have chosen is Coca Cola. This company is quite large