Melody

How to Harmonize a Tonal Melody Ultimately, harmonizing a melody is a matter of personal taste. Nevertheless, although you have some leeway in the selection of chords, a certain standard of musical communication, known as style, prevents you from exercising complete freedom. Harmonizing a Chorale Phrase The following general principles will guide our choice of chords for a Chorale harmonizations as much like those of Bach as possible: 1. You must use half (I–V, IV–V, or ii–V) or authentic (V–I)

and diverges between pianissimo and piano to maintain a soothing sound. Its luxurious ostinato triplet melody creates a lullaby-like feeling within the piece. However, the melancholic tone is instilled within the 3rd bar where the d natural within the triplet melody stands out. This adheres to the purpose of advancing the momentum of the piece as the lowered d provides variation in the triplet melody so it is not as repetitive. To

centricity lies on Bb, Tom and Anne’s opening melodies stress different centricities of G and Db. While these centers are not related to the Bb centricity individually, in combination the inversional relationship across Bb is clear. At the beginning of the duet, Bb is first established by the pedal in the lower strings and neighbor figure in the upper strings. Immediately, the oboe disrupts the centricity by stressing G (Example 1). When Tom enters on his melody, he first weights D, mimicking the dominant-tonic

David Carrillo TA: Joshua Bauder Meredith Monk, “Early Morning Melody” “Early Morning Melody” by Meredith Monk is a song with many minimalistic aspects. Repetition and isolation of the human voice are two examples of it. (26 words) The short song “Early Morning Melody” by Meredith Monk has a beautiful melody that repeats four times with the third time having one different note. The repetition of this melody ironically does not feel redundant, as the listener is likely to have mental

several ideas that may only appear for short periods in the piece or not work well together. However, Mozart uses the same simple melodic ideas throughout this movement that does provide continuity. He achieves this through using the melody within different textures and not using much counterpoint at all. Next is the question of tonal variety- Mozart's use of chords and shape in the piece. There is a good argument for the lack of tonal variety in the piece- in the whole

post-tonal elements of his piece because they are the most prominent. In my analysis, I found that due to the motivic repetition, there are many repeated set theory sets, such as (024), (025), and (016), which are found in the eerie, but enchanting melody line and create a familiarity in the minds of the listener. In addition to motivic repetition, there is an instruction

second quarter was to “Write and record an English song.” While I did not completely finish a song, I developed instrumentals, lyrics, and melody lines for two songs. Interestingly, I brainstormed the ideas for both projects while walking my dog, Bandit. The first, which I have tentatively titled “Melody,” started with me humming a rhythmic piano part, then a melody line. Next, I developed the instrumental in GarageBand, with an electric guitar part as a placeholder for the vocals. I found some really

Even though Motive and theme are two distinct terms that describe two different kinds of melodic units in music, a motive can still be a theme. To explain this in more detail, first one would have to define each of the terms. Motive is defined by what a composer is trying to communicate through their musical work. A motive is but a component of a theme. A theme being according to "The Enjoyment of Music" textbook a "melodic idea in a large-scale work" (Chapter 6). So how exactly can a motive be a

Cosmia was written by Joanna Newsom for her album, Ys, released in 2006. The song features an orchestral arrangement by Van Dyke Parks. The overall theme of the composition appears to be that of grief and the process in dealing with personal loss. The cultural and societal interplay that this song invokes is evident through the exploration of instrumentation, genre, artist context and musicological aspects. The following table demonstrates the interpreted analysis of the musical structure. It is

West Side Story No 10: Tonight (Ensemble) Maria, Tony, Anita, Riff, Bernardo, Jets and Sharks In this number, all the participants talk about the eventful evening they feel is ahead, each with their own thoughts on what will happen. There are three trains of thought: 1 Riff and Bernardo - thinking (in terms of their own gangs) of the fight arranged for later that evening 2 Anita - thinking about her 'nocturnal activities' with Bernardo after the fight 3 Tony and Maria - more romantic love,