comprehend what he is saying. There is quite a large range in this piece because of the variety of instruments used. With saying that the song is mostly low in pitch but in some places like the chorus and for occasional screams, Gaye sings with a high tenor voice and some of the notes played by the brass instrument are also high in pitch in order to cut through the thick of the other instruments. The main use of ornamentation in the song is by the brass in... ... middle of paper ... ...ntion to what
Mozart’s The Magic Flute is in many ways an illustration of the Enlightenment process. It is not difficult to observe that Tamino, Pamina, and even Papageno are all wiser by the opera’s end. Although a slew of enlightened characters could be a heart-warming touch, not all of The Magic Flute’s characters are so privileged: Monostatos in particular evolves very little during the opera. He is not totally without development, though; by the opera’s end, Monostatos is arguably slightly bolder, he is more
Phoebe Rankin - Professor Wilson - MUS 120 - 23 March 2014 -Werther by Massenet: A Live from the MET broadcast - Mar 15 10:55 a.m. - Cinemark Carefree W 3305 Cinema Point Directed by Richard Eyre, Massenet’s rendition of Werther from the New York Metropolitan Opera stands to impress with a rivetingly emotional and effervescent performance. An adaption of Goethe’s tragedy The Sorrows of Young Werther, the lyric drama tells the story of a love struck
I went to see Lend Me a Tenor at the Krevsky Center on the night of February twenty-first. Overall I thought the play was quite funny, with excellent actors, likeable characters, and an enjoyable plot. Overall, I found the script to be enjoyable. There were many situations created that allowed for some very funny dialog. There was, however, one type of event that was over used throughout the performance, namely, the instances of the characters wanting to see Tito, while various others tried to
Although I have just embarked on the journey of learning to play the saxophone,I am very intrigued by it’s history and musical origin. The saxophone is simply an amazing instrument with so many different kinds and variations of it, and so many musical genres it is able to play. The saxophone can produce soft angelic tones, or hard hitting jazz numbers, basically anything you want to hear the saxophone, and it’s player are able to provide you with. Upon such a versatile instrument there are so many
intro, the head, then a solo section, which can be looped, and finishing off with the melody one last time. The group that is performing calls themselves "Rockin in Rhythm". The British quartet is comprised of a Trumpet (played by Joe Hunter), a Tenor Saxophone (Robin Watt), guitar (Jason Henson), and Dan Sheppard on the bass. It is really easy to appreciate the simplicity in the few voices that are playing. I wouldn’t let their candid "street performance" mislead me doubting their
Just as Hawkins influenced one of the greatest alto players in history, he has influenced many people to become phenomenal saxophone players. Lester Young and Sonny Rollins both give tribute to Coleman Hawkins as being the “‘proliferator’ of the tenor saxophone as a jazz instrument.”(Kernfeld, 506) Hawkins, unfortunately, is labeled as a swing musician though; and while he did begin his career during the swing era playing with such greats as Louie Armstrong, Fletcher Henderson, Wilbur Sweatman
Wynton Marsalis. The video of this concert is 90 minutes in length. The concert was an ensemble of various Dave Brubeck arrangements utilizing various jazz techniques and styles with mainly the following instruments: bass, piano, trumpet, trombone, tenor sax, soprano sax, clarinet, bass clarinet, alto sax, flute, piccolo, baritone sax, drum, and tambourine. The performance included these 15 pieces: “Unsquare Dance”, “Three to Get Ready”, “The Duke”, “Cassandra”, “Strange Meadowlark”, “Who Will Take
This is a small biography about the popular Dutch professional alto sax player Candy Dulfer. She is more of a modern professional alto sax player that started playing around 1974, and plays smooth jazz and funk. Unlike T.K. Blue she had more of a natural talent and didn’t go to a music school. She has really strong pipes and plays the alto saxophone loud and proud. When listening to her music I thought she would be another great example of pushing the limits, the alto saxophone has no limits. You
factors in the context that impact in the choices we make from the language system: the field, the tenor, and the mode.” (Derewianka & Jones, 2013, p. 6) where the register is “a combination of the field, tenor and mode in a particular situation” (Derewianka & Jones, 2013, p. 7). Here the field is “the subject matter or topic being developed in a particular situation” (Derewianka & Jones, 2013, p. 6); the tenor is “roles and relationships being enacted in a particular situation” (Derewianka & Jones, 2013
“Alto Saxophones and Tenor Saxophones" Alto saxophones and tenor saxophones are two of the most common and versatile members of the saxophone family. From the Chicago Symphony Orchestra, on the stage of a Men at Work concert in New York’s Madison Square Gardens, or even on a street corner in the Big Easy, you will find one or both of these saxophones. While the two saxophones are commonplace in the worlds of rock n’ roll, classical, and jazz music, alto saxophones and tenor saxophones are quite different
This cantata is scored for soprano, tenor, bass and alto soloists, chorus, and trumpet, plus a pair of oboes, strings, and basso continuo. Even though the Meine Seele erhebt den Herren is in the tonic of G minor, the 3rd movement is a recitative meaning the singer is allowed to adopt the rhythms which is used a lot in canatas, and was an effective way to structure drama and meaning of the words. The third movement sets a dark mood of the recitative for tenor soloist; in the phrasings, “Auf seine
This is because the original chant voice is in the tenor and the chant has never been identified so it is referred to as Neuma. The tenor line is very important because it gives stability and structure to the overall piece. This is because the tenor line displays an example of an isorhythm. Through the textbook and through analysis, we can see that the tenor line repeats the same 10 measure rhythm pattern three times in a row before repeating those three
isorhythmic design, employing a repeating tenor line that moves slowly beneath the other parts, functioning as a foundation for the work. As noted by Grout, isorhythmic motets have tenors built up of colors (the "repeating series of pitches") and talea (the "long recurring rhythmic unit").1 Dufay's tenor has six 15 bar units of a certain talea. His piece is curious, for we could interpret it as having two colors, since the entire melodic line of the tenor repeats only o... ... middle of paper .
in band for 6 years before I stopped and I went to 5 honor bands. I played tenor saxophone and was 2nd chair all six years. Jazz band was something we had in middle school and high school. We had 2 jazz bands in middle school. Jazz one was for 8th graders and jazz two was 7th grade. I played in both. My first year I played tenor 1 and 2 and the second year I played baritone saxophone. My 9th grade year I played only tenor one. We didn’t have to audition but the students who plays that instrument
Each of the four stanzas in the poem begins with a trope. In every case the tenor is the kite. These tropes will be analyzed with regard to the central theme of the poem. The first tenor that I will discuss can be found in the first line of the first stanza. Cohen writes: “A kite is a victim you are sure of”. This is personification. Leonard Cohen uses a human quality “victim” to describe an inanimate object. The tenor would be the kits and the vehicle is clearly victim. The first stanza presents
boys’ choir sings phrases of faith and requests for the soldiers to be saved in Latin; the tenor then sings about the futility of prayers, from Wilfred Owen’s poem, in English. These two groups contrast each other because the first is concerned with religious practices while the second rebukes such religious practices. The music of the chorus and boys’ choir sounds more suspenseful while the music of the tenor sounds more dramatic. Dies irae: The chorus sings about descriptions of Judgment Day and
World War I. Britten brilliantly juxtaposes violence and suffering with the pure hope and pleas for redemption. He accomplishes this by juxtaposing the saddened tones of the tenor soloist, with the innocent tones of the boy choir. The tenor’s timbre is, full and powerful. The timbre of the choir, is soft, almost a whisper. The tenor seems to be greatly affected by the lyrics,
This creates a varying tenor throughout the text. Grant uses the first person personal pronoun “I” (6) which creates a more personal, direct tenor. He also uses elevated lexis nouns “endurance” (6), “strength” (6) and “privileges” (13) which indicate a formal register with a high degree of social distance. Additionally, Grant creates an oppositional tenor between him and those who mistreated him using the negatively connotated verb “abused”
It was released in 2007 as part of the album A Tale of God’s Will (A Requiem for Katrina). This piece was performed in a studio by Blanchard, Aaron Parks on piano, Brice Winston on tenor saxophone, Derrick Hodge on bass, Kendrick Scott on Percussion, and the Northwest Sinfonia, conducted by Blanchard. The piece starts out with eight bars of low-range percussion, specifically soft mallets used on the floor tom on a drumset, with contract