Measure 100 For 103, By J. B. D. Minor

1. Introduction The intended purpose of this report is to outline the nature of the Australian retail market, specifically the retail food sector. This report will then discuss the role of market segmentation and how it has resulted in the emergence of new retail channels available to consumers. The emergence of ALDI as a new retail channel will be the focal point of the report along with a brief overview of other new-coming organizations such as Costco. Through the use of current journal articles, books, internet sites and government publications, this report will outline the benefits of the new retail channels available to consumers, especially in regards to saving on common expenses. This report will also discuss the possible room for

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

In stanza two, ambiguity is more prevalent. Although there are some elements of abstruse, Ammons uses specific words in repetition to create a degree of complexity for the poem. Ammons uses words such as “summary”, “deeper”, “longer”, and “length” to convey the point. I question why Ammons used these words, in particular, “summary” and “deeper” because the overall second stanza conveys a message of an idea or item of great importance. “Summary” and “deeper” contradicts that message because both words contrast each other. Summary generally means a short version on main points of an idea or event while deeper is a term people use to compare two objects or items. Although Ammons does not in any

Throughout section A there is a consistent IV-I chord progression. These are aligned with each phrase and through the use of plagal cadence it makes each phrase seem resolved before moving onto the next.

sunrise theme of the development which is ‘y-y-x’ then ‘x-x-x-x’) and the fact the second melodic phrase of the sunrise theme is one bar longer. The development then continues again similarly to

As for the second the poem The Weary Blues the theme in it is slightly different from I Too, but it has the same meaning. The theme is about how African American expressed their opinions and communicated throughout music because they were being discriminated. In the third line of the poem speaker gives us a

Measure 11. This is the law that gives people a mandatory minimum sentence starting at 5 years 10 months, and going up all the way to 25 years in prison. The law gives a list of about 21 crimes that, if committed by a person, come with a set amount of time that must be served day for day by the offender, without any chance of good-time, work-time, or the possibility of a second look. Applying to ages 15 and up, this law takes the power out of the judge’s hands when it comes to sentencing someone, and forces the judge to give a mandatory minimum sentence regardless of the specific circumstances involving the case at hand. The Measure 11 laws, which range from Arson to Murder, carry a heavy minimum sentence starting at 5 years 10 months to

Through adding trumpets, bars 1-3 and bars 5-7 are the densest of Section A. This highlights the main repeated motif. Bars 3-5 and 7-11 are softer as these are the less important phrases of the section.

Then a gradual increase of animation forced the theme all the way up to the vigorous cadence. The recapitulation of themes followed an agitation and restlessness which led to a new and stormy climax which in turn gave way to blander harmonies and quiet rhythms. The first movement ends to the first theme in quiet feeling.

The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and then I. This is even more confusing because the scale that accompanies the I chord implies V (the chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii-V-I) but the exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two beats create even more prolongation as they nearly modulate. And even after this, the exposition is not done. There is a two bar codetta (a one bar figure played twice, the second time with variation) before the strong V7-I cadence with a C pedal tone. This is the first very strong cadence since the start of the closing material. Since the cadence at the end of the exposition is to C without any hint of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick-ups are a C arpeggio and the first bar looks and sounds like I and shows no indication of a ‘Bb’ or any other scale alteration. The opening of the developement is also a textural change but seems to resemble old material in its melody. Both the first theme and the second theme have similar figures to the new material. The developement starts with tonal movement in each of the first two measures, I in the first measure and ii6 in the second. In the third bar the harmonic rythym increases with a I64 for the first two beats and a V7 in

Measures 1-5 are a short introduction. The A section begins at the fourth beat of measure 5 and is in A major. The A section ends in a half cadence, which is an E major chord. The B section, which starts on the fourth beat of measure 29, is in C sharp natural minor. This is the relative minor of E major, which was the final chord of the first A section. At measure 49, there is a modulation back to A major which leads into a second A section beginning at measure 50. However, this A section is different mainly because the melody appears in the left hand and the section ends in an imperfect authentic cadence instead of a half cadence. This cadence is at the downbeat of measure 67, and there is no modulation to E major this time. The C section begins at measure 67 and is in A major. This section acts more as a transitional section that leads into a new statement of the main theme at measure 83. The final A section restates the main theme one last

After a repeat of the exposition, the performance moves on to the development with the soft material from the second half of closing theme two. It begins a whole step higher than its first appearance and immediately begins to modulate. Eight bars later new arpeggiated material enters on a Bb7 chord, beginning a twelve bar chromatic bass line moving to C# right before measure 109. Here the opening theme enters, similarly a whole step higher than at the beginning. Hearing the principal theme in the wrong key is a sure sign of a false recapitulation, and the P theme is

Theme-wise, the first movement is mostly bases itself on the opposition of two themes, one "military" in character (denoted hereafter by a and its variants a1, a2 a3 etc)

Shifting our focus back to the key modulations, the A section returns once we reach m 73. The D section begins in m 85 just as it did in the C section with a dominant 7th chord preceded by its key modulation, so Bb major 7 to Eb major to C major 7 to F major to D major 7 to g minor to E major 7 to A major in mm 85-92. The A section finally makes a return yet again in m 114 to finish off the piece in d minor.

28 No. 15 was written during the second period. This movement (III) is in ternary form (ABA). This first A section (A1) is in binary form and consists of 70 total measures in the key of D major. It is made up of two 32-bar sections that are divided into eight 4-bar phrases, a 4-bar extension at measures 45-48, and a 2-bar cadence at the end of the section. The second A section (A2) is made up of nine 4-bar phrases. A1 consists of a repeating theme that follows the chord progression I, ii6, V7, 1 in measures 5-8 and then goes to V6, vi6, V7/V, V I in measures 13-17 and the repeats these same progressions in measures 18-32 except measure 32 ends on the V chord instead of the 1 chord. A2 continues in D with a different and less melodic theme in measures 33-49 before repeating to the main theme in measures 50-70. This section crescendos and grows in