...Analysis of Summertime by George Gershwin (from "Porgy and Bess") My analysis based on the "Fake Book" will make mention several times to Gershwin's original harmonic structure for his song -- reasons for substitutions are based on the artist making those changes -- I will comment only slightly on that area since I do not know the mind of another artist -- however, I know how I would make sub. changes. This analysis is “One Direction” that can be taken amongst many. Because improvisation is a vast domain of conceptual theories in application it becomes a very real probability of “many ways” to envision and “see” an analysis FORM: A - B - A - C Thematic development occurs four times in 4 bar motifs (each section) equaling 16 bars to complete the strain. The entire form is repeated to produce a 32 bar complete form which consists of A - B - A - C + A - B - A - C=32 bars. KEY: 1) Am. A natural minor is the best starting place with no sharps or flats. Note: Although the V7 (E7) appears in the key of A Harmonic Minor, the fact of the major 7th degree (G#) does not agree with the use of i7 (Am7) in bar 1. For this, and numerous other shared "tonality" purposes and reasons we will establish the key of A Natural minor. The introduction of the first V7 (Dom 7th) chord (E7) in bar 2 is derived from the secondary dominant of A major tonality (more on this as we progress). 2) The song moves in A minor and for a short moment in bars TONALITY: The major melodic devise...
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... and the pulse indicated. A second attempt will be allowed if necessary. (The lowest part, to be sung or played, is bracketed_________.) ii) To identify the cadence at the end of a further (following) phrase, played twice by the examiner, as perfect, imperfect, interrupted or plagal. The key-chord will first be sounded. iii) To identify up to four chords in the above cadential progression, played twice by the examiner, as tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position), or submediant (root position). Candidates may alternatively use the equivalent roman notation. The key-chord will first be sounded. [The chords to be identified are marked*.] - Perfect (5—1) [Subdominant, Supertonic root, Dominant root, Tonic root] - Imperfect (—5) [Tonic root, Supertonic root, Subdominant, Dominant root] - Interrupted (—6) [Subdominant, Tonic root, Dominant root, Submediant] - Plagal Tonic (I) [root position, first/second inversions] Supertonic (ii) [root position/first inversion] Subdominant (IV) [root position] Dominant (V) [root position, first/second inversions] Dominant seventh [root position] Submediant [root position] 8C Identify two modulations (played once) Major—major 4,5 minor2,6 Minor—minor 4,5 major 3 8B To sing a short melody from score, accompanied by a higher part played by...
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...In the musical writings of the late madrigal period, there are many qualities and characteristics that make it distinct from earlier madrigal writings. For example, later madrigal compositions tend to include more chromatic lines, the use of imitative textures and word painting as well as extravagant contrasts in meter and mode, consonances and dissonances, and slower and quick paced rhythms. In Monteverdi’s piece A Un Giro Sol, these qualities make it very clear that is was written during the late madrigal period. The piece displays the use of word painting, uses chromatics, imitation between voices and uses different types of compositional contrasts frequently. For example, the poem changes emotionally at the line “I am sad and weeping” and the music reflects it by shifting into the minor mode as well as chromatics being added. The piece also uses very distinct word painting. In measure 8, in the tenore voice, on the words are “ride l’aria intorno,” meaning the breeze laughs all about, the line becomes melismatic and moves as if it were the breeze, also mimicking laugher. It is then followed by the basso, and then by the upper two voices. In measure 40 in the top voice, the lyric is “langrimose,” which means weeping, there is a falling chromatic line almost as if it was mimicking tears falling. In the lyric “certo quando neceste,” meaning doubtless on the day you were born, the rhythm becomes strict and angry in measure 57. Monteverdi’s use of these characteristics made...
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...Erl King Music Essay Franz Schubert wrote a piece of music named Erlkonig. I’ll be discussing his use of piano playing techniques and how his use of triplets in the accompaniment helps move the music forward. I will also explain how these techniques reflect certain portions of the text. This piece is about a father and son on their way home on a galloping horse, when out of the darkness of the forest the spirit of the Erl King comes to take the son away. We are introduced to Schubert’s effective piano techniques right from the start of the song. In the introduction we hear a repetitive triplet pattern in the right hand, depicting the galloping of the horse. The triplet pattern continues more or less throughout the whole song, showing continuity and resembling the horse they are riding that doesn’t stop until they reach home. The pattern is played fast and with urgency, this helps create the tension and terrifying mood while also carrying the music forward. We also hear in the song, every once in a while, there is a short ascending and descending scale in the bass. This resembles the appearance of the Erl King over the father and son and then he disappears again. In this song there are 3 main characters, the father, the child and lastly the evil Erl King. Each of these characters have a special type of piano technique to differentiate them. The first main character we see is the father. Schubert makes the register in the piano for the father’s section in lower ranger comparing...
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...minor scales that have the same key signatures. A major and minor scale sharing the same key signature are said to be in a relative relationship. The relative minor of a particular major key, or the relative major of a minor key, is the key which has the same key signature but a different tonic; this is as opposed to parallel minor or major, which shares the same tonic. Relative keys are closely related keys, the keys between which most modulations occur, in that they differ by no more than one accidental (none in the case of relative keys) The minor key starts three semitones below its relative major; for example, A minor is three semitones below its relative, C Major. G major and E minor both have a single sharp in their key signature at F♯; therefore, E minor is the relative minor of G major, and conversely G major is the relative major of E minor. The tonic of the relative minor is the sixth scale degree of the major scale, while the tonic of the relative major is the third degree of the minor scale. > (marked near note head) | Accent: emphasis on a particular note | A triad is a chord of three notes. | | The chord built on the first note of the scale, I, is called the tonic. The chord built on the fourth IV is called the subdominant and the V is called the dominant. These chords are also known as the first, fourth and fifth degrees of the scale. * A concord is a chord where all the notes seem to 'agree' with each other, it feels at rest and complete in itself...
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...I started writing this a while ago, and it seems like I've come across a lot of questions regarding theory lately, and scales in particular. So, I figured I'd post what I have so far and write this as a series of sessions on basic music theory concepts used in EDM.My plan is to start with major and minor scales, work our way through modes, chords, and chord progressions, and ultimately talk about melody writing and any other topics that come up in the meantime. The intent here is not to bore you with irrelevant trivia or bog you down with concepts typically associated only with classical music, but to introduce you to some very useful and practical concepts that will help you understand what you and others are creating, help you speak and understand the language of music theory and, hopefully, stimulate some new ways of thinking about your own EDM compositions. It will be very elementary to the more advanced musicians, but hopefully it will help people struggling with basic music theory concepts and practices. My original plan was to make this a blog, but given the other knowledgeable theory minds around here (e.g., RichieV, Diginut, Sonic_c, etc.), I think it would be better to keep it in an open forum format to facilitate an open dialog, Q&A, etc.So, for this first session, I am going to talk about major and minor scales, which are typically used in EDM. This session will lay a foundation for later sessions discussing the relevant modes, the relationships between chords...
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...Electric Counterpoint, by an American composer named Steve Reich, is a Minimalist piece which was written in the 1980s. It is the last in a series of three compositions for soloists playing along with pre-recorded multi-track tape loops. These loops being repeated leaves the note addition and resultant melody to the performer and the performing of it has been compared to playing in an ensemble with yourself. The piece is in binary form (AB) with 4 sections within the A and B sections and it ends with a Coda. At the start of the piece there is tonal ambiguity with hints at the key of E minor but this does not become clear until the bass guitar is introduced in part two of the A section. The three chord progressions used in A-3 are C Bm E5, C D Em and C D Bm. These chords make it clearer that the piece’s tonality is modal, specifically the E aeolian mode, because there is no F# in Em (as in the D chord) but there is in the aeolian mode. The most obvious indicator that the B section has begun is the change in key from E minor to C minor- and the piece switches between these keys frequently as the B section develops. The texture of the piece begins monophonically with a single guitar which starts as a one bar ostinato and then is full by bar six by using the note addition technique. Then layers are added and it becomes a four part guitar canon where the live guitar plays the resultant melody and it becomes polyphonic overall. In A-2 the bass guitar is introduced using the...
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...ByZantine Music culture Body What is known today as Byzantine music has been developed and refined for over two millennia. With its earliest roots going back to Pythagoras' philosophy on the division of chords, its latest and final revision took place in 1881 in the city of Istanbul; the city still referred to by the practitioners of this complex art by its more ancient name of Constantinople. For the purposes of this essay, the name Constantinople will refer to the city up to and including the present day. To provide for a clearer understanding of the theory of Byzantine music, the process of the development of Byzantine music as it is known today will be divided into two eras. We will call these two eras pre-Byzantine, and Byzantine periods of musical development. The pre-Byzantine part of the essay will cover developments made before the foundation of Constantinople. This period includes everything before c. 330 C.E. The Byzantine period will include all of the advancements made after the founding of Constantinople and the Byzantine Empire. Every refinement made up to the present day, the most important dates being the simplification of the notation in 1821 by John Koukouzeles and the great council of 1881, will be included in this period, but not, unfortunately in the essay. Although there is a very significant part played by notational theory on the development of Byzantine music theory and Hymnography, the scope of this essay does not allow for us to delve into...
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...A madrigal is a secular vocal piece of music in the Renaissance early baroque period, traditionally polyphonic madrigals are unaccompanied. The piece is an example of a seconda prattica, this style of writing is where the lyrics are more important. This is shown by the word painting for example the elongated slid Ohi-mè go down in pitch sounds like sighing which creates dramatic effect and exaggerates the desperation and moaning. Then the sudden quavers is bar 5 show the excitement and the change of mood as they are quick and exciting. This is another example of word painting which is typical of a 17th century madrigal. Bars 5-6 are imitated and repeated around the parts which shows the spread of excitement. Another example of 17th century madrigal is the tierce de picardie for example in bar 18-19. A tierce de picardie is a type or perfect cadence but it finished on a major chord in a minor key. This piece is in D minor but the chord finishes on D major but because of the harmonic series there is no bad echo. Another example of a tierce de picardie is at bar 28 but this type of cadence is called a feminine cadence as it doesn't finish on the strong beat of the bar. Even though this piece is in D minor the keys tend to vary and the tonality is quite ambiguous. A madrigal has between 2 and 6 parts and this piece has 5 different parts. The canto has a soprano range from middle C to G a 12th above. The quinto is more of a second soprano than an alto as it crosses above the...
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...Explain the difference between what Williams calls internal reasons and external reasons. Do you agree with Williams that there is no such thing as an external reason? Bernard Williams Started a long running well spoken about debate, about the nature of reasons in his seminal paper 'Internal and External Reasons' (Williams 1980) and the following publication 'Internal Reasons and the Obscurity of Blame' (Williams 1989). Williams famously argued that all reasons behind our actions are internal, and further proclaimed that there are no external reasons, which is in direct contrast with internal reasons as he has defined them in his literature. On close examination, his external reason claims turn out to be disguised claims about what would be good for someone to do, not claims about what they have reason to do. I will be describing Internal and External reasons according to Williams and discuss the merits of his claims and my beliefs towards them I have based my arguments on Goldsteins work as it a far more complete argument and analysis of internal and external reasons. Williams has defined two sets of reasoning which are in the world and that we can experience, one is an internal reason and the other being an external reason. He describes an internal reason as something that one has in light of one's own "subjective motivational set"- one's own commitments, desires (or wants) and goals Opposite to this is an external reason, which is one that which occurs independently...
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...PART 1 Company Allocation Ticker symbol | Company | | GICS Sector | GICS Sub Industry | Address of Headquarters | | BEN | Franklin Resources | | Financials | Diversified Financial Services | San Mateo, California | | FCX | Freeport-McMoran Cp & Gld | | Materials | Diversified Metals & Mining | Phoenix, Arizona | | The cost of capital of the aforementioned companies will be discussed in the following questions. The companies will be referred to by their Ticker Symbols henceforth. Question 1 BEN The book value of the company’s liabilities and equity can be deduced from a number of online sources. The US Securities and Exchange Commission (2013) provided the company filings data whereby BEN’s Form 10q, dated 29/07/2013, showed the following (included on page 2 of this report). The book value of long-term debt is $1,252.1 million, and the book value of equity is $10,402.3 million. The schedule of outstanding debt shows that this figure includes $54.5 million of FHLB advances and $1197.6 million of Senior Notes at various effective interest rates. The notes on Stockholders Equity and Non- Redeemable Non-Controlling Interests reveal that Franklin Resources Inc Stockholders Equity totals $9779.8 million whilst the Non- Redeemable Non-Controlling Interests (previously referred to as minority interests) totals $622.5 million. FCX The book value of the company’s liabilities and equity can be deduced from a number of online sources. The US Securities...
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...warms up. Ahhhhhhh, Heaven. 10:48 a.m. – Get dressed and head to café around the corner for coffee and a sweet roll. 11:56 a.m. – Back at motel. Sit down and turn TV back on. Oooo, “Hunter” is on. 12:01 p.m. - Get on computer to look for job. Sign up for “My Space” instead. 4:23 p.m. – Wake up to sound of cell phone playing theme from The Flintstones. Candy is calling to confirm plans for the evening. 4:26 p.m. – Cocktail hour! 4:26 ½ p.m. - Realize, as I try to shake the cobwebs from my brain, that I haven’t consumed anything except 3 cups of coffee and a cinnamon roll earlier this morning. Perhaps I should wait until later to have that Gin & Tonic. 4:28 p.m. - It is technically later. Pour Gin & Tonic into a somewhat clean coffee mug. Then pour Gin & Tonic into me. Ahhhhhh, Heaven. 4:31 p.m. – First Gin & Tonic was so good assume a second one would be...
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...Seizure Precautions for Pediatric Bedside Nurses Over the course of their careers, many inpatient pediatric nurses will care for a patient with seizures or who is at risk for seizures. Although often anxiety-provoking, the fear can be diminished by thinking critically about each child’s seizure. The nursing management of pediatric seizures, for which patient safety is the priority, should be driven by the clinical presentation of the child’s event. This article will present an algorithm to assist bedside nurses in safely caring for children with a variety of seizure types. The algorithm can be used as a road map to assist staff nurses in safely and appropriately stocking patients’ bedsides with emergency equipment as needed for children with seizures. However, to understand the clinical symptoms of a seizure, it is important to first review basic pathophysiology and seizure classification. What Is a Seizure? Seizures are a common neurologic disorder of childhood, and many pediatric nurses will care for children with epilepsy during their careers. The term “seizure precautions” is used frequently in nursing practice; however, its definition varies among institutions. Childhood epilepsy has many phenotypes, and while some children require airway clearance and ventilatory support in the event of a seizure, many will not. The bedside equipment for a child with seizures should reflect the patient’s symptoms. To that end, an algorithm based on seizure classification and current...
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...of New England Foundry In this analysis of New England Foundry we need to make a comparison with each of the models or layouts, the first combined counter with the new mentioned model with separated counters, for the determination of time saved with the new layout and then the amount that could be saved per hour with the same. For the layout with combined counter there is 2 servers with a single waiting line, the queuing model that is being used is the M/M/s, because of this queuing pattern consists of single phase and multiple servers. The arrival rate of 7 (4+3) per hour and service rate of 5per hour, which gives the average time in the system W=0.3922hours or 23.53minutes (refer to Excel) the time taken per trip is as follows: For maintenance people it will be 23.53+6 (walking time taken) =29.53minutes. For molding people 23.53+2= 25.53minutes. For the new layout with separate counters, Bob for the maintenance shop and Pete for pattern shop both of them follow M/M/1 model with single-server and single-waiting line. Bob providing for the maintenance people, serves 6per hour at an arrival rate of 4per hour, giving the average time in the system W=0.50hours or 30minutes(shown in A5) with the time taken for trip is 2minutes 30+2=32minutes, this is an increase of time, 2.47minutes compared with the other layout for maintenance dept. Pete serving the molding people, serves 7per hour at an arrival rate of 3per hour, giving the average time in the...
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...Personal Impact Paper NUR/427 January 18, 2016 Personal Impact Paper Living with a chronic disorder may affect a person and their family's lives. These disorders affect a person's physical and psychological health, emotions, independence, and their jobs. Depending on the disorder and severity determines treatment options that can affect the person financially. With today's medicine, technology, and resources people can manage and live a life. Learning to live with a chronic disorder can be emotional and takes time to accept. Millions of people worldwide live with epilepsy. One in twenty-six will develop epilepsy. The causes are unknown in two-thirds of patients. This neurological disorder causes a disruption in brain cells, which can cause seizures, sensations, unusual behavior, or loss of consciousness. Epilepsy treatment depends on the severity and frequency of seizures, a person's overall health, medical history, and age. These treatments may include medication, diets, surgery, epilepsy devices, and epilepsy first aid. A young woman, Nichole was nineteen years old, and just completed an emergency medical technician (EMT) school when she had her first grand mal seizure. She had to learn about and how to live with this disorder. As a way to help herself and others, she began posting videos titled Nichole's epilepsy on youtube.com: https://www.youtube.com/channel/UC1BIjErzoq8oH9apq_DPpiw. She shares her feelings of depression and the loss of her independence...
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