GVSU University Concert Report

Jokes aside the band did do a terrific job with this piece as Mitchell introduced it with something that teenagers could relate to; television. The song was commonly played in many TV shows that the target audience are known to have seen before. However, I never knew much about this composer or his music. The bizarre, but an expectation from a percussion based performance was that the xylophone took the lead. This was actually wonderful to hear because of how unusual it was to hear. The melodic line was also supported by the upper woodwinds which went together significantly well. The timpani player brings out the beat and the base line. It was almost as if there was a great presence as soon as the piece began because of the timpani because it establishes the quarter-note pulse. I’m not used to hearing a whole section of a string family play together with the brass family and the woodwind family, but they did quite the job together. The string family played the off-beat eighth-notes which totally coincide with the timpani’s pulsing quarter-notes. Then there was the famous glissando in the trumpets and trombones. This glissando reacted to the melody that came from the woodwinds and the xylophone, and according to my research this “reaction” to the melody is a compositional technique known as “call and response”. Hearing this piece live was absolutely magnificent, and I felt like I was in some sort of adventure

In my opinion, that is the reason why we listened to this piece of music. To try and be exposed to a work that has a large supply of instruments and a choir at the same time. From listening to it, they did a very good job of incorporating the choir with the music. The choir was also very synchronized as well. They did not get too high or too low as a group. One of the differences with this piece of music is they incorporate different types of music and the choir sings from the very beginning. One thing that was very enjoyable was how strong and powerful the choir sang at the end of the piece. Once, again, the most difficult thing about listening to this piece was the lack of understanding any of the

The partricular piece is very upbeat and outgoing. As the music continues the song continues to grow faster resulting in a vibrant folk dance. The Nashville symphony did a great job performing this piece and portraying the light-heartedness and fun that Enesco intended.

The audience was wrapped in the complexity and intensity that radiated in this piece. This was due to the disjunct melody, as the piece sounded generally uneven, with recurring wide leaps as the piece had a wide range. It was mesmerizing, watching the technique and fast pace hand movements. Furthermore, the song had a general homophonic texture as there was a clear dominant melody being played, with a few different chords supporting the melody. Despite there being a few tempo changes as the song alternated in pace, the piece sustained a duple meter, emphasizing on the jazz rhythm. The uniqueness of the piece was especially brought out through the frequent dissonance harmony, which made the piece more interesting to listen to. The piece had an overall free rhythmic feel, allowing the combination of distinctive rhythms and dynamics into a unique melody. The timbre of the piano matched the style of music as it was successful in giving the jazzy tone to the piece. Nevertheless, I think that the use of a full orchestra is more successful in delivering the full jazz melody as each instruments timbre provides an interesting influence on the

At the very beginning of the piece, it was a little bit shaky as the brass was a little bit too loud over the winds. The alto solo at measure 5 was played over the band though and that set a good tone for the piece. At measure 13, there was a good blend between trumpets, trombones, and flutes. At measure 31, the clarinets and alto saxophones did a good job carrying the melody. At measure 51 the band did a good job of letting the trumpets play the melody in the piece. At measure 59, the trombones were the clear melody and they played at an appropriate dynamic marking. At measure 67, backgrounds were overplaying a bit and the nice flute melody was covered. The trumpets did a good job of controlling the melody at measure 73. At measure 101, the band did a good job of contrasting the flute melody because the other sections of the band came in quietly. The alto saxophone and clarinet melody at measure 120 was played above the rest of the band, but if could have been a little bit louder. From measures 128 to 140, it was hard to distinguish a certain melody. The trombone melody at measure 148 could have been cleaner and louder as it was hard to listen to in the recording. The rest of the piece had a good melody, though as it was mainly carried by trumpets and winds. Overall, the band blending could have been a little bit better, but it still sounded

Peter Meechan wrote this song for his friend who is the principal trumpet for the Dallas Symphony Orchestra and his charity. His charity, Cancer Blows, raises awareness and money for the research of cancer. The piece started out with a slow trumpet solo and the baseline was played by the trombones. There was then a clarinet solo that was very similar. Both solos were played at a medium loudness. After the refrain played by all the instruments there was another trumpet solo and then a oboe solo. Then the whole band played. The piece ended on one loud chord played by the whole band. I thought that the band as a whole had good dynamic contrast. It was easy to tell when they were supposed to play forte or piano. The trumpet soloist also was able to sustain the notes for a long time because of the good breaths she took. I struggle with taking big breaths a lot when I play

One of the main reasons why I liked this piece was becuase this had a stronger beat and its very lively. When listening to it I can imagine the gatherings and the festivities of the Native Americans. I believe it has to be a very uplifting song to them becuase of all the musical instruments and the chanting. The falsetto is very interesting to me becuase it sounds very unreal and its very beautiful to me. I enjoy the fact that both men and women are participating in this song, it gives it a better range of vocables. When I close my eyes and listen to it imagine it almost as rollercoaster becuase their range goes up and then it descends and as it descends the drums get louder then they become loud again.

If it was my responsibility to organize the University of North Carolina Wilmington Classical Guitar Ensemble, I would choose to do several things in order to promote the event. Sometimes I see the hockey team, or other sports teams get out and about on campus yelling and making a scene in order to promote the game they are having that night. So one idea that I have for promoting this event in the future is getting the guitarists to sit on stretch golf carts and driving around as they play their pieces. The golf cart will also be decorated with informative posters about when and where the event will occur. Another way to market the event is by making it more visible on the UNCW

The first family of instruments was the percussion section. This family caught my attention because I used to play percussion in high school. They also caught my attention because this family emphasizes and sets the rhythm of the piece. I really enjoyed the xylophone instrument during this concert because the xylophone brought out the melodies in each piece. Another family of instruments that caught my attention was the low brass section. I enjoyed this when the intense moment of a song came on because the low brass instruments emphasized the dark moments of the intense sections of each song. This emphasis brought out strong emotions out of me towards the songs. There were 5 guest conductors during this concert, but each one had their unique style of conducting their songs. All five conductors wore tuxedos with a white bowtie. When the conductor approached his podium, the band was stomping their feet to applaud him. He approached his podium and bowed to everyone. These conductors pointed at a certain family of instruments during a part of a song to emphasize those instruments to play louder, or softer. The conductors also raised their hands when they wanted the band to perform a louder dynamic change, or lower their hands when they wanted the band to perform a quitter dynamic change. I was really impressed about how the band had a lot of respect for the conductor. The band followed

On November 10, 2016, the jazz guitar ensemble at Palm Beach State College had their first concert for the fall semester with a special performance by the 2:00 Jazz Sextet directed by Neil Bacher and co-directors David Gibble and Stephen Scott. The Jazz Guitar Ensemble performed five pieces including “Bittersweet,” “On Green Dolphin Street,” and “Bill’s Bay” – Last two pieces very different in style had allowed the audience to enjoy the variety sounds of jazz music.

The oboe at 2:26 is the beginning of what will be a very polyphonic section (2:26-3:03). The oboe sound here is the perfect intro/opening to this section because it is welcoming and almost reminds me of springtime. It starts off by moving up the scale slowly and then returning to the tonic. It then moves quickly up the scale and returns to the tonic. It is very legato and happy sounding. The flute at 2:26 is very whimsical and involves a lot of switching between 2 notes with small intervals. It complements the opening oboe well and contributes to the happy spring like opening to the section. When the clarinet chimes in at 2:31 it immediately pierces the ear and takes over the section. The melody goes up once in pitch, and then quickly falls and rises again. The high note is then held for an extended period of time until the clarinet trickles out of the note by descending the scale. This melody is repeated for the whole section by the clarinet. There are some slight variations, but for the most part the melody stays the same and is repeated for the whole section. There are times where it is tough to hear the clarinet due to the other instruments but it is there. The low instruments that come in at 2:39 bring a whole new mood to the section. Their different timbre brings a sense of danger approaching. The constant strike of the cello gives the piece a profound beat and almost sounds like the big mean footsteps of danger approaching. The introduction of the

Marking the start of a new musical session, there is much anticipation of what the new season offers. I wen to the concert featured three instrumentalists of the Arizona State University Orchestra.on November 4th at Ketzin Concert hall. Led by conductor Jeffery Meyer," The concert begins with Benjamin Britten's evocative " Four Sea Interludes," Nuyts’s "Tumbleweed Concerto"and ends with Prokofiev's powerful “Symphony No. 5”.

Herbert von Karajan conducted the orchestra I posted on EDpuzzle. In general, music instruments which an orchestra use for this music are two flutes (2nd doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, and strings. In the early stage of the movement, loud minor sounds of string and woodwind instruments created feelings of magnificence and anxiety at the same time. In the midway of the movement, the orchestra played the combination or alternate of minor and some gentle major melodies. Therefore, the mood of this music frequently changes: powerful and impressive minor sounds and warm major sound.

I attended the Faculty Chamber Players concert on Monday, February 13th, 2017. This four-part concert took place in Morgan Hall of the Bailey Performance Center. The Faculty chamber players who performed the first piece, Wolfgang Amadeus Mozart’s (1756-1791) Flute Quartet Number 1 in D major, included Helen Kim, a professor of the violin, Catherine Lynn, Artist-in-Residence in viola, Charae Krueger, Artist-in-Residence in Cello, and lastly, Christina Smith, Artist-in-Residence in Flute. Performers for the second piece, Toru Takemitsu’s (1930-1996) “And then I knew ‘twas wind” (1992) for Flute, Viola, and Harp, encompassed Christina Smith playing the flute, Paul Murphy, another artist-in-residence of Viola, and Elisabeth Remy artist-in-residence in Harp. The third piece, following the intermission, Richard Strauss’ (1864-1949) Variations on a Bavarian Folksong (“Dirnl is haub auf mi’ “) for String Trio, entailed Helen Kim performing on the

The melody starts low, as a quiet whirring sound of the flute and oboe slowly envelops the hall. The audience is quiet, hushed. Slowly yet steadily, the timpani and bass drum lays out a blanket solemn theme. Another theme of clarinets and trumpets appears, complementing the previous, yet affirming its own identity with an energetic, new twist of the melody.