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Polymodal, consisting of a blue-orange mode with a chordal ostinato and cascades of chords, and a violet-purple mode having a copper timbre. Note the pianistic writing, composed of triple notes, rapid passages in chords, canon in contrary motion, hand crossing, various staccatos, brassy louré, gem effects. 6 Cloches d'angoisses et larmes d'adieu
Music was a normal part of social life in Mesopotamia [14] and was used in many secular contexts. [15] Music played important roles at funerals, [16] among royalty, [17] and was also depicted in relation to sports and sex. [18] Mesopotamian love songs, which represented a distinct genre of music, nevertheless shared features in common with ...
The piece opens with a three-note motif at fortissimo that introduces the C-sharp minor tonality that dominates the piece. The cadential motif repeats throughout. In the third bar, the volume changes to a piano pianissimo for the exposition of the theme. The second part is propulsive and marked Agitato (agitated), beginning with highly ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
Inspired by a French Christmas carol of the mid 1800s and set to the tune of the ancient hymn “Gloria,” this song is a glorious musical celebration of the birth of Christ.
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