America The Beautiful 'By Katharine Bates' America The Beautiful

This part is fluttered with strings, winds, and, more importantly, high pitched notes that the choir must sign. Throughout the section, crescendos often happen, the dropping into soft melodies. The tempo for this section is adagio, similar to that of Introitus. Like Introitus, Lacrimosa shares the same meter signature as well as the same tone throughout. The singers build up into a fortissimo volume, and then drop into a piano tone. However, there are some differences to notice, such as the increased use of winds in Lacrimosa and the decreased use of brass instruments. Instead of focusing more on making a bold statement or emitting tones of melancholy, like Introitus, Lacrimosa provides a sense of conclusion to the symphony as well as to the theme of Requiem. This is what it succeeds in, thus, emitting a passive tone, despite the various crescendos. Although there are no diminuendos featured in Lacrimosa, the audience gets a sense of piano by the sudden drop in note. Without a doubt, Lacrimosa concludes the symphony in a way that sounds pleasing to the audience as well as ending the journey that the conductor

The allegro that follows marks the start of the exposition section. It begins quietly and then builds in intensity, suggesting the playful and light-hearted comedic aspects of the opera. Fugal techniques are applied. The fugue subject theme 1(in the key of E flat major) is first presented by the second violins, starting on tonic E flat. The first violins repeat the subject but start on B flat, the dominant, which shows the influence of Renaissance period. The subject is then played in the lower strings. A contrapuntal tapestry is weaved from these materials which undergo many variations. The flute leads into the transition which is very homophonic and

The octave of the poem describes the events of a typical church service, in the order they commonly occur. Prayer occurs first, hymn/singing is the second, sermon third, communion forth, and hand-wringing fifth and last. At first, it may

Many people hail “The Star Spangled Banner” as the greatest piece of American music. The audiences of America’s national anthem seem, instinctively, eager to express their respect by embracing the notion to remove their hats and stand up. However, not many people ponder over the question of what “The Star Spangled Banner” truly means. What does it mean? Why does it deserve so much reverence and honor? What exceptional difference allows it to prevail over the masterpieces of prominent composers like Mozart and Beethoven? The answer is fairly simple. “The Star Spangled Banner” symbolizes America’s perseverance, its set of moral laws and ethics, and its history that constitutes what America truly means.

In the essay “Of thee they sing with feeling”, Garrison Keillor details his opinion on the United States’ National Anthem and the unity it brings Americans when they join together in song. After reading his essay, a greater appreciation for the indescribable feeling it gives those who sing it was more thoroughly developed. Although our society is constantly changing, the National Anthem is a timeless patriotic piece that will be cherished by many generations to come.

This obvious song choice, one that was considered for the national anthem, was not selected for its plain spoken lines, but for the singer. America the Beautiful, sung by Ray Charles, is more than transparent lyrics; It is about a story and soulfulness. Written in 1893 by Wellesley college professor, Katharine Lee Bates,America The Beautiful was conceived as a poem. Ray Charles’ rendition of the poem was turned into a unique and historic song, one of his most memorable hits. Since the creation of this song, it has become exceedingly popular over the past three decades; it has been sung at the Super Bowl, World Series, and Winter Olympics. Charles sang it over and over at hundreds of performances in and outside of the country, but he always

It is opened by a sustained major seventh chord on the tonic (C major) to establish a misty morning scene. The oboe continues to introduce a bird-like pattern followed by a triple meter slow string melody with drones richly harmonising in the cellos and basses. This rhythm; crotchet, minim, crotchet minim, is widely used in Delius’s works. There are passing tones which creates discordance at times when played against the harmonic roots. The strings flutter on the final held note and then the clarinet plays the traditional cuckoo call. Throughout the middle section which is based around the Norwegian folk song, “In Ola Valley” this cuckoo call is reintroduced several times. The strings play a small looping pattern before the end of the managing to create simple yet rich new harmonies. A major chord dies away to silence. This ending is also similar to Lark Ascending as both pieces fade away into

The word “singing” is repeated constantly to show that each worker is happy doing what they and that they are grateful to live in America. The poem states “Each singing what belongs to him or her and to none else” (12), expressing that everyone has the freedom to be themselves in America. The speaker begins by saying “ I America singing, the varied

By the beginning of the second verse, the drums get louder. For the first, second, and fourth verses of this song, the tempo is slow. At the chorus, the entire medium picks up to a quicker tempo. Maracas are used in the chorus, adding to the more upbeat tempo. This song is played in the AABA format.

Walt Whitman, A Man Was Singing for America. Walt Whitman who is a famous patriotic poet is among the most influential poets in the American canon. Especially, “I Hear America Singing” and “O Captain! My Captain!” both poems are free verse and underscore Whitman’s basic attitude toward America.

It is then followed with an anapestic meter, giving the feeling of longing and yearning for more. The second stanza, however, begins regimented, starting with iambic trimeter, but begins to switch unrelated meters. This shows the flooding of emotions, and depicts the inability to keep calm, as seen through the unrelated meter forms.

The beginning of this part is bright and brisk. The melody gets steps and leaps contour with wind instruments and chordophones play the surface rhythm. The dynamics gets louder but the pitch stays the same as the beginning. Chordophones stop playing the melody and wind instruments start to play the melody solo. Unlike other parts, wind instruments call and chordophones respond to it.

Just so you know before hand, the lyrics to the music came from the CD with trademark of Delta Music Inc. The movement opens agitatedly as the orchestra picks up fragments of one theme after another from the previous three movements, as if seeking a satisfactory vehicle for its expression; but each is discarded in turn. The first seven notes of the main theme to come are tentatively uttered, but it too is abandoned as the search continues. Once again the theme begins, this time in the woodwinds, but it soon breaks off. Finally, the theme emerges decisively in the basses for a subdued first statement. The second statement is calm, tranquil, confident, and the theme continues onward in the various voices of the orchestra, broad and flowing. The winds make a strong statement of the theme. The flow of the music abruptly halts--there are rapid shifts--great agitation, until the orchestra introduces the baritone singing the first three lines of the poem, rejecting the feverish discords of the previous passage, calling for a different music, whose nature is suggested by the strings beneath his voice:

However, after the introduction, the orchestra is kept in a deep register, repeating the simple melody, which depicts a sense of solemnity. During the climax part, the strong percussion, the stings, the mixed choirs, and the brass have knitted the mightiness of the fortune, interacting with the text.

The verse then begins. Frank Sinatra uses the intervals of a minor 6th to show regret, which contributes to the mellow mood. Every verse begins and ends with a minor 6th, or minor 3rd. The atmospheric mood of music is also set by a choir which sings the tonic in order to instate the minor and solemn feeling of the music. The trumpet also continually sets a solemn tone to the music, with the use of a minor