Major chord

During the course of this analytical essay it can be shown that the two pieces, 8th November and (We’ll Be Singing Hallelujah) Marching through Berlin, express emotions that soldiers have felt during and after a war, through the use of musical elements. It can be established that the first song, 8th November reflects the Vietnam War, through the use of Dynamics, Pitch and Timbre. Similarly, the second piece evaluated and analysed, (We’ll Be Singing Hallelujah) Marching through Berlin also utilises

Maestro - Internal Monologue Eduard Keller Intervention at page 71 Weeping like a baby, I walk away from the frustrating, sweet music that hides such devastating and infuriating emotions. Like a bright red rose that smells of redolent, aromatic fragrance satisfying the nose, yet with thorns that impair when tempted. How insulting! How could they play Wagner? Although I knew that the orchestra would of course play Wagner, it seems that every time, I hope for something better; to keep my mind

Johannes Brahms is a German composer and pianist in the Romantic era. He dedicated Intermezzo in A major, Op. 118, No. 2 to his close friend, Clara Schumann. It was written in 1893 and it is the second piece of Sechs Klavierstucke. It is considered one of best known creations of his set of later works, that gives off a profound feeling of nostalgia, mystery, melancholy. An intermezzo is a character piece which could stand on its own. In this intermezzo, the music flows with romantic lyricism in a

Dvořák: Letters and Reminiscences, 138-39. Jan Smaczny, The Work of Antonin Dvořák (1841-1904): Dvořák and Early Music, ed. Jarmila Gabrielova, and Jan Kachlik (Prague: Institute of Ethnology, 2007), 311-12. Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quartetly Vol 62, no.1 (January 1976): 150. The piece begins with sopranos without organ introduction (only later Dvořák added two bars of introduction in the orchestra version). The musical structure is mainly polyphonic,

dynamic contrasts and vigorous and varying rhythms, he has composed a three-minute concerto based on only one short sentence and two Biblical phrases. This essay will describe how Schütz achieves a cohesive, complex work by comparing it with three major elements of a short story associated with the plot: introduction, rising action, and climax (including resolution). In the beginning of any story, the writer must establish character, atmosphere, and theme. The concerto begins softly with the words

There are many categories of turning points we can discover and value, but looking at the intervalic relationships in the harmony throughout these 1,650 years makes it much easier to determine the definitive turning points. This advantage comes from the notion that harmony can be studied in a very scientific manner. Composers undoubtedly use specific intervals for specific reasons in a period of history, which provides clear evidence of actual changes in music. For example, the medieval harmony

The lyrics for Brahms’ “Wie Melodien” Op. 105, No. 1 are from a poem written by Klaus Groth. It is a poem that never clearly states its true meaning. Instead, it arouses an emotional feeling of one dreaming about something from the past. And, these emotional feelings are expressed in Groth’s poem through a variety of images. The poem begins with using “melodies” as an image. In the first phrase, “Like melodies draw it to me softly through the mind,” the word “melodies” seems to be symbolic

The piece opens very quickly, with a quickening of the cello but it is suddenly interrupted with the piano in a deep key. The opening part of the piece has a significant amount of dissonance, bringing a sense of anxiety and desire for the piece to end. As it rises, the listener is both anxious for an ending and a resolution. The piano is this ending. The piece then picks up in a minor key, entering a more mystical and quiet place. The piano takes precedence with the cello sitting in the background

basic eight note scale. Musicians understand the concept of the musical alphabet. It begins at A and ends on G and is repeated over and over. But this concept of the musical alphabet is the concept of modular arithmetic. If a piece is in the key of C major, the C~scale would begin on C and go up. Each semitone between the beginning C and the next octave could be numbered 1 to 12. However, at the number 13, the scale starts over at C again. The next whole tone, D, would be numbered 14. But there are only

begins on the mediant of E major. The song uses a guitar and autoharp accompaniment with a solo voice that sings three verses. The song is in a duple meter, but frequently switches between 4/4, 2/4, 3/2, and even inserts a few 5/4 measures. The note lengths used include sixteenth notes, eighth notes, dotted eighth notes, quarter notes, half notes, dotted half notes, and whole notes. The melody uses stepwise motion, and skips and leaps that outline the underlying chord. The lyrics of each verse repeat