I’ve added a melody somewhat to the piece and plan to expand on it next lesson. I’ve elaborated on the drum piece and have added a sort of guitar solo to the piece, overusing arpeggios that sound a bit like the tapping technique from electric guitars.
The baritone sax appears to be able to be muted (they are for sale on a few internet sites) but I have been unable to find any videos of the baritone sax being muted. From what the descriptions say, it offers noise reduction and presumably a softer sound.
Medieval music is European music written during the Middle Ages. This era begins with the fall of the Roman Empire and ends in approximately the early fifteenth century. Establishing the end of the medieval era and the beginning of the Renaissance is difficult; the usage in this article is the one usually adopted by musicologists.
The pan flute was popular in this time. Many medieval instruments are still around today in some form. Genres - Gregorian chant, Ars nova, Organum, Motet, Madrigal, Canon and Ballata
Composers- St. Godric: Crist and St. Marie, St. Marie Cristes Bur, St Nocolaes Godes Drud
Guillaume de Machaut Messe de Nostre Dame / Virelais / Tournai Mass
Renaissance music is European music written during the Renaissance. Defining the beginning of the musical era is difficult, given the gradually adopted “Renaissance” characteristics: musicologists have placed its beginnings from as early as 1300 to as late as the 1470s. This group gradually dropped the late Medieval period’s complex devices of isorhythm and extreme syncopation, resulting in a more limpid and flowing style. What their music “lost” in rhythmic complexity, however, it gained in rhythmic vitality, as a “drive to the cadence” became a prominent feature around mid-century.
Thomas Tallis Remember Not, O Lord God,Hear The Voice And Prayer, Christ rising again from the dead
Orlando Gibbons This is for the record of John, The Silver Swan, Parthenia
William Byrd Earl of Salisbury Pavan, Sing Joyfully, Suscepimus Deus
This period of music overlaps with the Baroque art period, starting at about the year 1600. Baroque music expanded the size, range, and complexity of instrumental performance, and also established opera as a musical genre. An important technique used in baroque music was the use of ‘ground bass’, a repeated bass line.
Antonio Vivaldi The four seasons, Il Giustino, Farnace
Johann Pachabel Canon in D, Christe, du Lamm Gottes , Toccata in D major
Johann Sebastian Bach Sanctus in D major, Jesu, meine Freude, Christmas — Christum wir sollen loben schon
Classical music has a lighter, clearer texture than Baroque music and is less complex. It is mainly homophonic melody above chordal accompaniment. Variety of keys, melodies, rhythms and dynamics (using crescendo, diminuendo and sforzando), along with frequent changes of mood and timbre were more commonplace in the Classical period than they had been in the Baroque.
Joseph Haydn La marchesa nespola, Armida, La vera costanza
Wolfgang Amadeus Mozart Minuet in F, Allegro in B-flat, Symphony No. 32 in G major, “Overture in the Italian style”
Ludwig van Beethoven The Ruins of Athens (Die Ruinen von Athen), Wellington’s Victory (“Battle Symphony”), Piano Trio No. 7 in B-flat major (“Archduke”)
Romantic music as a movement evolved from the formats, genres and musical ideas established in earlier periods, such as the classical period, and went further in the name of expression and syncretism of different art-forms with music. Romanticism followed a path that led to the expansion of formal structures for a composition set down or at least created in their general outlines in earlier periods, and the end-result is that the pieces are ‘understood’ to be more passionate and expressive, both by 19th century and today’s audiences.
Pyotr Ilyich Tchaikovsky The Nutcracker, Swan Lake, 1812 Overture
Nikolai Rimsky-Korsakov Flight of the bumblebee, Scheherazade, Capriccio Espagnol
Johannes Brahms Tragic overture, Nachwirkung, Spanisches Lied
Modern Modern Music has evolved around new technology, with separate genres such as Rock (+ Metal), Jazz, Pop and so on all being classed as different styles within the period.
I don’t have any pictures of rabbits with pancakes on thier heads, so I’ve got this instead.
I used this time to test different ideas for my piece. Very few of these actually worked, since I didn’t write ideas that fit within the theme (western/classical?) but nevertheless, I got a couple of ideas. Namely to use arpeggios and chords instead of fast single notes that are more commonly found in rock music. I hadn’t come up with a key or time signiature yet, though I think I may use a 4/4 time signiature. As for the key, I am going to use ideas and move them up or down in key, depending what fits.
Once again, I used this time to gain more ideas, but realised that arpeggios and chords would prove very useful in my piece. I also began to decide on what instruments to use. I’ve decided that there will be at least one guitar in there (whether it is acoustic or clean electric, I am not sure) and definately a piano (no effects, sticking to the theme we are composing to). Due to the lack of sibelieus and inability to record onto the computer other than the keyboard sections (which I think i’ll use as backing) I have not written anything down as music, but in the next lesson I’ll be able to get the ideas down.
I’ll apologise in advance if this is a bit fragmented, since I missed the first two lessons on the drum pieces (due to an inconsiderate volcano erupting the day before I was set to fly back to britain) and I don’t know what unit we were covering, but I’m assuming it’s rhythm due to the clapping we did and the drumming as a composition.
We created a drum beat using Sibelius 4 on the Macs, using a lower sounding drum (It was a timpani on the actual score) and a higher pitched drum. We figured out a drum beat and kept the ‘bass drum’ part whilst changing the higher=pitched drum’s rhythm. We used mostly semi-quavers in the piece, and I used mostly bass notes in the performance (I’m not sure of the proper name - it’s the one where you hit the center of the drum with the palm of your hand) I think that the piece as a whole was successful, given the time that we had to complete the task. I think that the piece could have been improved if there were more parts or if it was longer, but since we had only two members in the group, we were limited to the number of parts we could have at one time.
Sibelius is a program that is used to compose music. Unlike garageband, it shows the score of a piece, allowing it to be used for coursework. I found out how to add bars in and I knew to click the note duration I wanted to put into the piece on the panel to the side of the score, and then click on the appropriate line of the stave to add the note’s pitch. You can add things such as the key signiature and BPM on the screen that appears just after Sibelius loads up. At ths screen, you can also add the composer and song writer, and also the title.
Today we learned about film music. A long time ago, when silent films were just starting to be shown over the world, musicians had to make pieces up to fit the movie, since they had no music, speech or anything other than a slide telling you what they just said. More recently, films have music with them, as we have invented the technology to do so.
This means that the people who write the pieces have much more control over elements such as suspense. This led to some of the most influential pieces of music in history - the Jaws theme, for example.
That’s all I have for now, other than this poorly drawn cartoon, and yes, that’s a Delorean in the background.
Tommy was originally the ‘first rock opera ever’ and an album by the Who. It was written as a musical, but wasn’t actually turned into one for a good 23 or so years later.
The story follows the life of ‘Tommy’ starting from the day he was born. The story is actually quite dark in places, but all of these are only implied in the songs, whereas they aren’t in the musical.
1940: Against the backdrop of World War II appears a montage of Mr. and Mrs. Walker meeting, their marriage, Captain Walker’s departure for WWII, and his capture in a POW (Prisoner of War) camp (“Overture”). Back in London, two officers arrive at 22 Heathfield Gardens to bring a pregnant Mrs. Walker the tragic news that Mr. Walker is missing and presumed dead( “Captain Walker”).
1941: A nurse gently hands Mrs. Walker her newborn son (“It’s a Boy”).
1945: The USA intercepts Walker’s POW camp, he is freed and heads home. Believing her husband dead, Mrs. Walker finds a boyfriend, and they celebrate her twenty-first birthday and discuss getting married together with now four-year-old Tommy. To his surprise, Captain Walker arrives as Mrs. Walker and her boyfriend embrace. (“Twenty-One”). In shock, Mrs. Walker reaches out to touch him, but a fight erupts between Walker and the boyfriend. Tommy is watching the fight, and Mrs. Walker turns him towards the mirror in hopes of him not seeing the fight. Through the mirror, Tommy sees his father kill his mother’s boyfriend. Mr. and Mrs. Walker embrace, but soon realize what Tommy has witnessed, and violently shake him, telling him he didn’t see or hear anything (“What About the Boy”). The police arrive to investigate, while Tommy gazes at the mirror. A narrator (Tommy’s older self) appears, visible only to Tommy (“Amazing Journey”), and invites the audience to witness Tommy’s journey.
Captain Walker is tried, but found not guilty. However, the family celebration dies down as they realize Tommy is now deaf, dumb, and blind, when he fails to show emotion towards his father’s release. Mr. and Mrs. Walker take him to a hospital, where a battery of doctors and nurses, to no avail, examine Tommy (“Sparks”).
1950: The Walkers take ten-year-old Tommy to church and to a family dinner (“Christmas”). Although they try to enjoy the party, they can’t help but think that Tommy doesn’t know that it is Christmas. Everyone is stunned when Tommy responds to Uncle Ernie’s playing the French Horn. Mr. Walker, in a desperate attempt to reach his son, asks “Tommy can you hear me?” multiple times. Older Tommy, only visible to young Tommy, sings to him. (“See Me, Feel Me”). Back home, the Walkers worry about whether to leave Tommy with the drunken Uncle Ernie (“Do You Think It’s Alright”), but they convince themselves that Tommy will be fine. After the two leave, Ernie molests him (“Fiddle About”). Tommy’s next babysitter, Cousin Kevin, and his friends, taunt and bully him mercilessly (“Cousin Kevin”). The group then takes Tommy to a youth club where, to everyone’s astonishment, he plays pinball brilliantly (“Sensation”). Encouraged, the Walkers try yet another doctor, a psychiatrist, who tests Tommy without success (“Sparks (Reprise)”). The desperate Mr. Walker is approached by The Hawker and Harmonica Player (“Eyesight to the Blind”) who promise a miraculous cure for Tommy. They take Mr. Walker and young Tommy to the Isle of Dogs to find a prostitute called The Gypsy (“Acid Queen”). Mr. Walker, horrified by the Gyspy’s methods, snatches the boy and runs away. The act ends in 1958 as a group of teenagers await 17-year-old Tommy’s appearance at the amusement arcade (“Pinball Wizard”).
1960: Tommy has become the pinball champion and hero of the neighborhood lads. (“Underture”). The father, still in search of a cure, convinces his wife to try once more (“There’s a Doctor”). They take Tommy to specialists (“Go to the Mirror/Listening to You”) for elaborate tests, but to no avail. The doctors discover that no one can free Tommy from his catatonic state but himself. On the street a group of local louts surround Tommy (“Tommy, Can You Hear Me?”) and carry him home. The parents, at their wit’s end and considering having Tommy institutionalized, compassionately confront one another (“I Believe My Own Eyes”). Tommy stares into the mirror as his mother tries desperately to reach him one last time (“Smash the Mirror”). Out of rage, frustration, and desperation, she shatters the mirror that Tommy continually gazed at for years. With the mirror in pieces, Tommy becomes conscious (“I’m Free”) and leaves home, while his cure hits the news (“Miracle Cure”).
1961-1963: Tommy is idolized by the public and the press (“Pinball Wizard (Reprise)”), and begins appearing in stadiums, while Uncle Ernie tries to capitalize on his stardom, by selling Tommy souvenirs in a carnival-like setting (“Tommy’s Holiday Camp”). On the night of the concert, Teenage Sally Simpson manages to sneak out and attend Tommy’s concert. She gets on stage and tries to touch Tommy but, when he pushes her aside, she falls and is pummeled by the guards (“Sally Simpson”). Tommy, in horror, realizes how caught up in the celebrity machine he has become. He tends to her and invites everyone back to his house (“Welcome”). Once there, Sally asks Tommy how she can be more like him and less like herself (“Sally Simpson’s Question”). He is confused, and insists that there is no reason to be like him, when everyone can be themselves.
Disenchanted with their hero for failing to provide exciting answers, the crowd turns on him and leaves (“We’re Not Gonna Take It”). Tommy hears the voice of his ten-year-old self (“See Me, Feel Me”) and for a moment, to the horror of his family, seems to be reverting to his old state. But instead he turns to his family, whom he has ignored during his stardom, embraces them in acceptance, and reunites with his younger selves (“Listening to You”). The entire ensemble joins him and his family on stage. After they all leave, the 4 year old Tommy, 10 year old Tommy, and adult Tommy dramatically end looking out in different directions.
I have to admit, the story requires a lot of thought to understand and is probably one of the most nonsence stories I’ve ever heard, but by having it this way, The Who were able to create a memorable album with very varied songs. Each one fits the mood of that particular part of the story, and can contrast from highs to lows, and the earlier songs are soft-sounding in comparison to the later ones, showing Tommy growing up (And by the way, there’s 3 Tommy’s in the musical. And they’re all the same person, yet appear at the same time, even outside of Tommy’s conscience when he is deaf dumb and blind. See what I mean about how odd the story is?)
Simply put, if you are frightened of large paragraphs and do not wish to read the above writing, Tommy is born and his dad goes off to war (WWII). His mum thinks he dies and gets a boyfriend. Tommy’s dad is not right happy about this, and kills him. Tommy is told to not tell anyone about it and forget. So he does, but becomes dumb deaf and blind, but “sure plays a mean pinball”. Eventually, he gains random followers who somewhat idolise him, as the press have done. People then want to be like Tommy, so he allows them to stay in his house as a ‘club’ of sorts where they learn his teachings. There gets too many people in the people:amount of house ratio and his Uncle Ernie sets up a holiday camp. Tommy, having been relieved of his condition through smashing a mirror he saw someone being killed through begins to revert back to his old state to the horror of his family. He turns back to them as opposed to ignoring them and then the story ends.
Below is the entire album of Tommy (Don’t cry and Tribute are at the end because I’m learning them on guitar and can’t be bothered to uplaod the tracks to my Ipod, but forgot to take them off my Grooveshark playlist. Listen to tribute, it’s awesome.)
Musicals are a form of play in which the story is largely based around the songs, which help to tell the story as much as any of the acting parts. Many of them are happy and leave the audience in a good mood. In terms of ability, they lie in-between Pop and Opera.
Musicals are quite popular, and as a result are shown regularly in different theatres, particularly the West End. Examples of musicals are such as The Lion King, Grease, and War of the Worlds (Who thought to have alien invasions and everyone randomly bursting out into song in one play?).
Another example is The Who’s ‘Tommy’. This is an odd example, as there is a form that exists as a ‘rock musical’, but the original version of Tommy (and the one that I own, even if I only bought it for ‘Pinball Wizard’) was actually dubbed a ‘rock opera’ and the first work to do so. Wikipedia also says (and therefore must be correct) that Pete Townshend actually thinks it is neither a musical nor an opera.
Right, I’ve spent a whole load of time figuring out a song (5.5 minutes, to be precise) and I’m pretty proud of it. And since pendulum’s roots are Drum and Bass music, It ties in with the theme of the topic that we are doing in class. Two for one!
Right, this bit is repeated about 2 times, not entirely sure, but the rhythm of it is hard to tab, it’s more like 1-2, 1-2and3, with there actually being 7 strums of each, except from the set of 3rd fret on B and G, where you hold the first chord for slightly longer. Listen to the song and you’ll know what I mean.
For the part after it, there isn’t a guitar part, but I usually improvise by playing one set of the first chord, as usual followed by two sets of 1st fret on G and 3rd fret on D, then return to the 5-3 chord for one, then repeat it once.
Now you’ll have a bit with a violin sound, there are no guitar parts for this, so you wait until you get to the ‘main’ tune -
And these parts are all repeated throughout. After the bridge, going into the outro, there’s another guitar part. You can either play this section exactly, or just play an extra few of the first note, but palm muted, and then go into the rest of it.
And that’s it, have fun playing the Tempest by pendulum! (Note, if you’re finding this a bit hard to follow, which you probably will, I’ll get a video of it up after I get my Microphone fixed.)