How Does the Piece ‘Ocean’ by John Butler Use Guitar Techniques to Appeal Popular to the 21st Century Audience?

Kelley use repetition many times throughout the piece. She uses it to have ideas and phrases stick with her

Pablo Picasso is well known for creating paintings that are considered to be abstract. He distances the images he draws from anything of the natural world. The Guitarist is no stranger to this concept. He’s able to create this abstract art, by again, using elements of art; starting with his unique use of lines. In this particular artwork, he uses contour lines; he draws an object as though the drawing tool he is using is moving only along all the

Throughout section A there is a consistent IV-I chord progression. These are aligned with each phrase and through the use of plagal cadence it makes each phrase seem resolved before moving onto the next.

Section one is introduced with a pedal solo which is used to maintain the rhythm of a ¾ pattern that is consistently present throughout the entire piece and initiates the ostinato theme. A significant part of section one can be distinguished in measure 33 where the melody of both hands shifts to the swell organ manual. Also, the melody switches again to the choir organ manual in measure 49.

A) A long flowing melody that rises and falls gently. Two distinct sections- the first introductory melody, followed by another melody which has calls and responses in a minor key. These phrases are joined with a small rising then falling melody and repeated. Left hand octaves are followed by arpeggios of chords/inversions of the chords. The first section is then

We also see jazzy stepball changes in both pieces and in ‘For Bird with Love’ we see Horton’s splayed hands technique.

0:00- The beginning of the song we hear a very slow tempo. There are a piano and digital effects. The beginning is marked by a piano solo that creates a very dramatic tone. The digital effects help build up the suspension before the singing begins. The piano accompanied by the digital affects gives the beginning of the song a polyphonic texture. The beginning of the song is important because it builds up the suspension and evokes the emotion that the person was feeling.

Ocean once more talks about the trouble with love he experienced as a teen, in his song “White Ferrari”. This song begins with him stating that he was 16 and didn’t know that his actions had consequences that could lead to

In this case, the melody of the West End Blues is repeating but the instruments that cover as the lyrics, do not. The strophic form is also a great musical design for telling a

In the second section background lightening became blue and the stage color gets brighter. Still we can see and feel some dark sides of lightening. Music tempo was faster and stronger and Ms. Donna Wood has stronger movements. The most interesting in this section was singing human voice. She starts to sing and has a little smile on her face. Most of her movement shape was very sharp, edgy and angled especially her arms at first. She represents them to be united and get free. By jumping and crossing arms, she sinks to earth and then she rises. Strong steps and ecstatically raised arms, dances freely off the stage, toward freedom. In short, in this part of work the young women life get better and better, but still it wasn’t completed.

From Bars 142 – 175 the first subject; the song ‘Jim Jones’ is repeated, played in E minor. From bars 176 – 184, the transition between ‘Jim Jones’ and ‘The Lime Juice Tub’ is repeated, although it is changed a little; in the last two bars, it changes into E major. Then them B1, ‘The Lime Juice Tub’ is repeated in E major, along with the linking passage. Theme B2, ‘The Ballad of 1891’ is then repeated in A modal. The linking passage is then repeated again, and Theme B3, the song ‘Gallant Peter Clarke’ is then repeated in C major.

The development starts very similarly to the exposition with the first violin part once again playing the sunrise theme with the only differences being the distribution of the motifs ‘x’ and ‘y’ (The opening sunrise theme of the exposition was in the order of motif ‘y-x-x’ then ‘x-x-y’ compared to the opening

28 No. 15 was written during the second period. This movement (III) is in ternary form (ABA). This first A section (A1) is in binary form and consists of 70 total measures in the key of D major. It is made up of two 32-bar sections that are divided into eight 4-bar phrases, a 4-bar extension at measures 45-48, and a 2-bar cadence at the end of the section. The second A section (A2) is made up of nine 4-bar phrases. A1 consists of a repeating theme that follows the chord progression I, ii6, V7, 1 in measures 5-8 and then goes to V6, vi6, V7/V, V I in measures 13-17 and the repeats these same progressions in measures 18-32 except measure 32 ends on the V chord instead of the 1 chord. A2 continues in D with a different and less melodic theme in measures 33-49 before repeating to the main theme in measures 50-70. This section crescendos and grows in

Instead of traditional block chords, the pianist is encouraged to play a flowing, arpeggiated accompaniment to help propel the melodic line forward. In addition, Shenenberger notes that sung notes should be repeated at the beginning of a given exercise

Each variation gradually gets louder and more complex rhythms appear, until the fifth variation where there seems to be a musical climax. At this point the music, the music returns to the softer more subtle beginning with less rhythmic ornamentation.