Piano Music Critique

Typically I study in silence, but I had to make a lot of not cards, so I decided to play some classical music. I played the Classical Music for Studying Pandora station. I do not know much about classical music, because it is typically relaxing to listen to. On this station there was a wide variety of pieces. Some were scores from current films; others include pieces from Beethoven Bach. My favorite piece was a score from a Harry Potter film. The song was instrumental, including instruments, such as piano, guitar, violin, cello, trumpets, and many others. This piece was slow tempo (Adagio), but was extremely dynamic in other aspects. The piece started off slow, most likely in the minor key because it was filled with sadness and fear. But began to build, ultimately ending in a slightly more upbeat fashion. The mood started as a sad feeling, and transition into a less sad feeling (I would not classify it as happy). Throughout the piece, there did not seem to be a consistent meter. Initially it started as duple meter, and then it transitioned into a triple meter, ultimately ending in a quadruple meter (or maybe a larger meter). The piece has multiple accent points, which created a more dramatic effect. I personally do not listen to a lot of classical music, but I believe classical music used to express a wide variety of emotions within a three to six minute piece. An individual can start off feeling happy and content, then moments later

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.

The Pianist (5 points for Final Exam) Questions: (only refer to the movie!!) 1. How did the life of Polish Jews change after the German occupation?

The orchestra tunes their instruments as I sit in the back of the auditorium, fiddling with my Thoroughly Modern Millie playbill. A friend of a friend, Jolie, is sat next to me as we wait for our mutual friend to join us. Though we sat in silence, it was comfortable. Our friend, Kyra, joins us as the lights begin to dim. Before we are left in the dark, Kyra throws me a knowing smile as if she knows exactly how these next two hours will impact the rest of my life. I smile back though and turn my attention to the stage.

A quite hush comes over the crowd as the lights dim in the club; the band shuffles as they prepare for the set to begin. From behind the stage he comes, walking slowly to the microphone. As the song begins, the club goes silent. The piano strikes first, opening with a slow back and forth tune before he finally lets the small brass instrument sing. Under the glow of the stage lighting, the trumpet seems to sparkle, every movement and swing sends sparks into the audience. Some in the crowd recognize the tune, but notice something a little off – as if the song had been forever altered. This new melody, while not fitting the usual tone of the speakeasy, sank into the audience; a new emphasis on civil rights.

Then, it comes out of nowhere. The biggest climax, suddenly brought on like a wave crashing against a cliff’s edge. The oboe melody recurs again, this time less sorrowful than inviting. Come back, it sings. And the flute comes skipping over the sound, the sun rising from behind black clouds. But the melody it plays sounds out of place, lower than and not as bright as what it could be. My fingers twitch, following the flute countermelody as if I were up there playing with them—as I should be.

As I was sitting in the audience, the first thing that I noticed was that the audience consisted of all ages, ranging from eighteen years of age to perhaps eighty years of age. In preparation for the concert to begin, several performers entered the room and tuned their instruments to the keys on the piano. The performers’ attire was highly conservative, covering almost every inch of their entire body, and they wore all black from head to toe. When the concert began, the audience clapped as the performers were introduced and were walking out onto the playing area. As the performers took their seats in front of their stands, the audience became quiet and there was a short moment of silence before the performance commenced.

As the man confesses his love to the woman, the music is light-hearted and fairy like. Then, as the woman is standing by the side of the ship alone, a boat comes into view. The music matches the approaching visitors and their mysteriousness. It becomes slow, low, and dark. However, as the people on the boat take the girl the music speeds up and crescendos and then finally tapers off as they leave in the boat.

For my piano critique, I went to see Sean Cavanaugh with accompaniment of Dominic Muzzi, play Ludwig van Beethoven’s Concerto No. 1 in C Major, Op. 15. This recital was performed on campus, in Recital Hall November 6, 2017 at 8:30pm. Both Cavanaugh and Muzzi performed their portion of the piece on the piano.

     The poem Piano, by D. H. Lawrence describes his memories of childhood. Hearing a woman singing takes him to the time when his mother played piano on Sunday evenings. In the present, this woman is singing and playing the piano with great passion. However, the passionate music is not affecting him, because he can only think about his childhood rather than the beauty of the music that exists in his actual space.

beginning of the piece almost sounded like music that would be played in a classic horror/haunted house movie - the part where the piano plays itself! My emotions were mixed up throughout the entire piece and I tried very hard to paint a picture in my mind to what the composer was actually expressing and what kind of story was he trying to tell. “Could it be a tragic love story?”, “Could it be a story about a miserable life, a horrible death and/or the transfiguration to the afterlife?”. These were the questions I was asking myself when I listened to this classical piece. Although I could not understand the complexity of it, I still enjoyed listening to it very much. The only thing I knew was that the nickname of this classical piece was called “The Moonlight Sonata” and that the piece written by the great Ludwig van

As a result, his whole life was based around music. From an eight year old boy who attends gigs his dad arranges to a man who created his own work. His life was rounded by support from his family and his church people. They created a boy to be humble and passionate about his music. His musical styles consist of chamber, keyboard, choral, symphony, and vocal. In his work “Violin Sonata in A Major”, it is a keyboard and chamber music. His work was inspired by his marriage, which it was first performed at his wedding celebration. A violin and piano are used, which have a low and high beat throughout the song. Due to it being in Romantic musical period, and him getting married, this song is perfect. In the first movement on the song, it has a slow medieval start. As if love could be dangerous and he is on the verge to find out. Dynamically, it is at speaking voice and goes up higher then lower every time. The beat start off simple, with one by one keys. The second movement, the keys progress faster. Suddenly, a pause occurs in the song and again, keys start to go crazy fast and start off

It starts with piano playing a few notes at a time with a double bass being finger picked in the background. A saxophone it sounds like replaces the beginning piano and joins in. The piano starts playing short quick notes. Ray Nance then starts playing a solo on his violin. The violin solo stops. Rex Stewart starts playing a trumpet solo. The trumpet stops. Ben Webster then starts playing a saxophone solo. The saxophone stops. Joe Nanton starts playing a trombone solo while using his mute to achieve different sounds. The trombone stops.

The sound is derived from a vocal part saying tick tock and heavily laden with a clear long hall reverb to give a huge depth to the voice. A slight delay on the voice is introduced halfway through the piece to represent the ever evolving state in ambient music. The piano sound is a grand piano mixed with a long hall reverb with a soft attack and medium long release to produce a dream like characteristic as well as provide a deeper spacial texture to the soundscape. The third sound was a string sound that

I broke the silence with a soft, lingering note that slowly fell into a lulling melody. My left hand moved gently, yet steadily across the chords to built the rhythmic undertones of the piece. My right hand pranced across the notes of the melody, fleeting and sure. As my notes floated through the air, pictures of flowers and fluttering butterflies filled my vision. Rolling fields of golden grasses became so vivid, that I was transported out of the church and into my own imagination. Gradually, the notes grew richer and the tempo became more