Musical Analysis; Comparing 'Tonight' with 'Maria'; West Side Story.

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

A. In William Tell Overture Part 2, Gioachino Rossini uses a wide range of dynamics in this song with going from a slow softer tone then immediately goes into a loud fast paced song.

This song sets the mood as it is an acoustic love song. The song changes when the loves first make physical contact in the elevator and becomes more intense which increases the passion between the two lovers. This music continues throughout the rest of the scene. Before Maria and Tony meet the other characters are dancing at the disco, the music is jazzy and upbeat, this is also set in a major key. When the lovers meet the music changes as the characters fade out.

     The sixth piece was called This The Moment sing Me a Song by Craig McGill. This piece had two singers and a piano accompaniment. The song is about a glorious moment when two people meet or possible fall in love. Regardless, it is a very important moment in the lives of the couple, represented by the male and female singers. The song talks about

Contrasting to ‘Didn’t my lord deliver Daniel’ we move onto ‘Fix me Jesus’ which is performed as a duet and portrays the priest and someone that has gone to confess. The lighting changes to blue and white which gives a crystal like intensity. At the start of this section the male figure is stood behind the women and almost covers her movements as if to protect her and to show the trust. The repetition of the women’s hand gestures also seems as if he’s giving her his blessing. There is also repetition from sub section one ‘I’ve been buked’ with the use of proximity and actions such as the bird pose which helps to portray the emotion of this part. Throughout this part the women doesn’t always focus on her partner but is still reliable on him. This is shown through tilted balances and lifts where the male is the supporter. There is an extensive use of weight bearing, strength and trust which are all metaphors within this piece and the use of off kilter positions and balletic actions help to enhance the mood.

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

Again in the last stanza Monteverdi uses word painting along with a dissonance to create his theme of unrequited love. “I’ mi morro” is repeated many times in a combination of tones that sound discordant, unstable, resolving in silence. In the end the voices fade out when they say, “tacendo” showing this resolution.

The dynamic increases to fortissimo at mm. 73 as the texture thins and harmony becomes very clear for a brief section. In this second closing theme G major, G augmented, and E minor7 in the bass are strongly arpeggiated before four octaves of C, D and G quickly reaffirm the key of G. This cadential crash is followed by some of the softest and lightest material of the whole movement, which due to the surrounding measures is proved to still be part of the second closing theme.

Musically a return to verse one but Anita's snaky, swinging triplets in the vocal part make more of her suggestive nature (rather than the rather direct and unsubtle quavers of Riff and Bernardo)

The intro of the piece ‘Festival Overture on Australian Themes’ is uncertain in tonality, starting with a flourish of notes for six bars, using woodwinds and strings, over bass tritones that go lower, coming to a rest on B, the dominant of E.

The play begins with the description of the Pacific Ocean where Margarita Suarez is swimming. The second scene starts by describing the setting where beside Margarita is a small boat following her. In the boat is her family and her father is holding a megaphone and her brother Simon sitting on the top of the cabin with binoculars. Her father is giving Margarita instructions as he says “Uno, dos, uno, dos. Y uno, dos… Keep your shoulders parallel to the water”. Suddenly, Simon spots something unusual in the water and he thinks is a shark. The family starts to panic immediately. But, then they realize is just the halfway mark. Shortly after, Simon tells the family that they are on TV, and Margarita keeps

This section concludes with a run or lowering pitch and a repeat of open notes of the E Major open chord created by the capo:

Mansfield’s description throughout the narrative is intriguing and captivating, pulling the reader into the drill hall and making them sway to the “oft, melting, ravishing tune” as though they themselves could have been Leila. Moreover, her use of description allows her to create the character of the “fat man” and utilise him to portray the idea that “happiness [doesn’t] last for ever.” Because she describes him as the fat man, who is old and wearing a coat that “looked dusty with French chalk”, she creates an evident contrast between the beautiful characters she initially described. Through this imagery, Mansfield subtly portrays Leila’s fears of losing the beauty of this first ball and emphasises that in fact, beauty doesn’t last. However, Mansfield plunges the reader back in to the dance, such that the almost

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

The pattern of the song has a beat that repeats itself at a fixed rate. In addition to the fixed rate, the song has an accent where one beat is emphasized and this can be heard by the increased volume of that specific note. Towards the end of the song, the melodic contour of the song can be described as a descending melodic contour as the pitches descend from high to low. This is done by the artist holding out their voices for a lengthened amount of time. Furthermore, the phonic structure of this piece can be described as a monophonic piece. Monophony means that the performers play the same pitches with the same rhythms. Even though the song incompasses a wide varitey of instruments, the rhythm of the song stays relatively the same Another important aspect of the song is the dynamics. The beginning of the song can be classified as a crescendo because of the increased musical sound from the instruments, however, towards the end there is a decrescendo as the volume falls off and the artists holds on and extends the last note. The crescendo in the beginning of the song is interesting to note because the song starts off acapella and gradually the volume begins to increase when the first musical instrument comes into play. Last but not least, this piece of music contains a lot of repetition. The vocal repetition of the songs title serves as a