What Are The Musical Variations Of Afro-Cuban Rhythms

5 utilize various different musical concepts throughout the performance. For instance, the opening trumpet solo in movement I Trauermarsch, exemplifies monophony within the movement composed in rondo form. Next, the fast tempo of Movement II Stürmisch bewegt, mit größter Vehemenz represents allegretto, whilst featuring a myriad of discords until reaching the final resolution. Furthermore, Movement III Scherzo, represents an abrupt shift in the symphony's style switching from the dark minor scale of movements I and II to the more jubilant major scale. Moreover, Movement IV Adagietto slows the symphony’s tempo to adagio, and only employs the use of the Stringed instruments. Last but not least, Movement IV Rondo-Finale speeds up the symphony once more up to Allegro, ending in a dramatic climax with a brief cadence. Mahler’s Symphony no. 5 took the audience on a musical rollercoaster, employing countless musical

The first movement began with a very strong texture as the music reflected a very powerful theme. It began with the heavy instrumentation from the strings including cellos, violins, and basses. The tempo was also relatively fast and generally upbeat. About a minute and half in there was a very noticeable solo by the violins which was a bit softer in terms of the texture. The melody seemed to be very upbeat and cheerful. Lasting the form of the movement was very well structured and the instruments backed each other up smoothly.

Throughout the piece, the brass plays the theme in alteration with the timpani and tam-tam. Although the theme is simple, together they create a long musical idea. The overall dynamic of the brass grows throughout creating a sense of power especially when

In the exhilarating tale, The Book Thief, by Markus Zusak, a character that would serve well as a best friend is Hans Hubermann. Hans is a great example of someone who is a great friend because he is very compassionate. Hans showed compassion in the story when he cared for Liesel as his own daughter and when he risked his life for the sake of Max Vandenburg’s. On page 36 of the text, it states, “Every night, Liesel would nightmare. … Possibly the only good to come out of these nightmares was that it brought Hans Hubermann her new papa into the room to soothe her, to love her.” This shows that Hans Hubermann is compassionate towards Liesel and he is there when she needs love. Also, Liesel can count on him to lift up her spirits when she is feeling

In this essay, I will be examining the musical genre of Afrobeat which was created by Fela Anikulapo Kuti. Afrobeat first came to be in the late 1960’s during the Civil Rights Movement in America. Fela Kuti a Nigerian, was able to create a genre that has change the way we view music today. Afrobeat is made up of two different words, “Afro” and “Beat”. “Afro” correlates with “African organized sound while beat is a rhythmic counting pattern in relation to such music” (Oikelome, 2013). Therefore, the meaning of Afrobeat is the unique African rhythmic patterns of such music. The coming of this genre is very interesting since the man behind it has quite a story.

After the bridge a sporadic drum fill opens up for the first verse of the song (A) which is repeated just as the first time but more emphasized, especially the vocals. After the verse the chorus follows, almost identical sounding to the first chorus just with more emphasized vocals. The song then ends with an abrupt note, typical for jazzy

It is then restated by each of the various families of instruments such as the woodwinds, brass, strings, and the percussion. It is then played again at the end, but by the orchestra as a whole. Each variation also changes the theme's dynamics (e.) by making the sounds go from a soft, mellow type of volume to a loud and very energetic volume. Throughout the piece it seemed that the tempo (g.) would go from a very fast, powerful pace to a slow, light and playful pace. In the final parts of Benjamin Britten’s piece, he makes use of counterpoint by showing how a melody (b.) can bounce from one instrument to another while still being in sync. The style period (j.) of Britten’s success musical composition was modern, since it was created in the latter years of the 1940s.The performance medium (k.) of this piece was of various classical instrumental

The development starts very similarly to the exposition with the first violin part once again playing the sunrise theme with the only differences being the distribution of the motifs ‘x’ and ‘y’ (The opening sunrise theme of the exposition was in the order of motif ‘y-x-x’ then ‘x-x-y’ compared to the opening

A slow universal crescendo is audible until bar 29, when the dynamic then holds at a fortississimo (fff) – ‘as loud as possible’. Tr.1 provides a rest from the constant dissonant chords in bars 40-42 before returning to the regular rhythmic figure. This opening successfully displays the unpredictable intensity and discomfort of war through is constant rising and falling in dynamics and unexpectedly changing texture. At the end of bar 67 (after B1), all instruments quickly crescendo to another fff, before moving directly into the next section (C1 – see figure 2.2). This presents a triumphant mood through the melody of the brass instruments moving strictly along the D major scale (making regular use of its’ tonic, octave tonic, subdominant and dominant notes), and the lack of minor harmonies and dissonant intervals so commonly used in A1 and B1. The segment slowly begins to incorporate these dissonant harmonies in canon, bringing about an eventual sense of dread as the dynamic builds to a gradual fortissimo (ff) crescendo. Following this crescendo, all instruments participate in an ff universal decrescendo, combining to create an irregular Am (not native to the tonic chord) on a lower register (predominantly A2).

The finally movement and my favorite of the four movements, Beethoven lets the cellos and basses 'talk' in a gruff recitative that passes judgment on the themes of the first three movements. The recitative then halts and slowly, out of this darkness, the 'joy' theme is heard. As the theme commences, the other instruments of the orchestra become involved and the theme is evolved into its ideal instrumental form. But what does

pervasive use of a single motif combine to make the Fifth Symphony, which had one of

The third movement lead straight into the fourth, and that lead into the fifth movement without missing a beat. The fifth and last movement of this symphony is in sonata rondo form, which is a blend of the two. A rondo is when the first theme, A, repeats several times with other music (B, C). This form then also shares characteristics of the sonata, so it has a development section as well that is common in sonata

and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme "a" is transformed into 8 different versions throughout the composition's first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,

The first movement overall treatment of instruments is conservative throughout Cool Fire. The texture is primarily homophonic in the first movement with seven main changes of sound in the first movement. The structure is based on the traditional Classical Period rondo form. Moravec’s harmonies do not follow traditional chord progressions and are varied by using extended chords, altered dominants, and modal scales. Three modes are used in main melodic sections. The first two are in lydian-dominant mode. The third theme uses octatonic mode or diminished scale, alternating whole and half step pattern. The first movement is marked quickly. It is in 2/4 meter and has no change of tempo.

     The fifth piece was called Epileptical Bipolarity by Chris Wheeler. The piece was written for trumpet with a piano accompaniment. It had three movements; the first was centered mainly on the trumpet. It started with low notes and a slow tempo and built to a lively and quick expression of joy and energy. The second movement was played with the trumpet muted. It was much, much slower in tempo and used much lower notes, played within a very small range. The third movement starts out livelier and continues with an upbeat sound. The melody seems almost recognizable and is, therefore, comforting to listen to after the sad second movement. Then the melody stops abruptly and the piano joins in to finish the song.