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NJC MEP IP1/2 2008

Saturday, December 27, 2008. A) Identify the climax points throughout the piece with the use of bar numbers, and tell Miss Huang how they are achieved using what Dr Kelly Tang has taught us (i.e. diminution of rhythm, thickening of texture, muted strings - bowed strings, addition of the lower brasses (register) things like that. 1 From bar 17 to the first quaver beat of bar 20. 2 From bar 24 to the first crotchet beat of bar 25. 3 From bar 37 to bar 50. 4 From bar 63 to bar 71. Sunday, December 21, 2008.

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NJC MEP IP1/2 2008 | njcmepipwabbitsofyear2008.blogspot.com Reviews

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Saturday, December 27, 2008. A) Identify the climax points throughout the piece with the use of bar numbers, and tell Miss Huang how they are achieved using what Dr Kelly Tang has taught us (i.e. diminution of rhythm, thickening of texture, muted strings - bowed strings, addition of the lower brasses (register) things like that. 1 From bar 17 to the first quaver beat of bar 20. 2 From bar 24 to the first crotchet beat of bar 25. 3 From bar 37 to bar 50. 4 From bar 63 to bar 71. Sunday, December 21, 2008.

<META> KEYWORDS

1 posted by

2 wuddles 3

3 no comments

4 hellozxzx

5 happy hols everyone

6 note

7 posted by gaylee

8 audrina's analysis

9 climax point 1

10 climax point 2

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posted by,wuddles 3,no comments,hellozxzx,happy hols everyone,note,posted by gaylee,audrina's analysis,climax point 1,climax point 2,climax 3,posted by aud,audrina's reflections,composition reflection,static points,chester's composition reflections,gaylee

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NJC MEP IP1/2 2008 | njcmepipwabbitsofyear2008.blogspot.com Reviews

https://njcmepipwabbitsofyear2008.blogspot.com

Saturday, December 27, 2008. A) Identify the climax points throughout the piece with the use of bar numbers, and tell Miss Huang how they are achieved using what Dr Kelly Tang has taught us (i.e. diminution of rhythm, thickening of texture, muted strings - bowed strings, addition of the lower brasses (register) things like that. 1 From bar 17 to the first quaver beat of bar 20. 2 From bar 24 to the first crotchet beat of bar 25. 3 From bar 37 to bar 50. 4 From bar 63 to bar 71. Sunday, December 21, 2008.

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njcmepipwabbitsofyear2008.blogspot.com

1

NJC MEP IP1/2 2008: note

http://njcmepipwabbitsofyear2008.blogspot.com/2008/12/note.html

Sunday, December 21, 2008. Ms Huang, I've posted my compo under draft cos of some uh, difficulties. Yup can go view there for it. Subscribe to: Post Comments (Atom). NJC MEP IP1/2 2008. A) Identify the climax points throughout the . Hellozxzx haha this is shoujin and this is my com. 1st climax (bar 17-20) The most obvious change is . Hey this is shoujin and this is my, er, compositio. Comments on laprès-midi dun faune.

2

NJC MEP IP1/2 2008: audrina's reflections

http://njcmepipwabbitsofyear2008.blogspot.com/2008/12/audrinas-reflections.html

Thursday, December 18, 2008. Before I attended the composition master by Dr Kelly Tang, I had little or no idea how to compose something like how to come up with a theme, how to make my composition interesting so on and so forth. On the other hand, the whole tone composition had some rubrics like there must be a whole tone scale somewhere, and cross rhythm, so I played out the whole tone scale, I had this eerie feeling about it. To me, it sounded peaceful yet evil at the same time. NJC MEP IP1/2 2008.

3

NJC MEP IP1/2 2008: Chester's Composition Reflections.

http://njcmepipwabbitsofyear2008.blogspot.com/2008/12/chesters-composition-reflections.html

Wednesday, December 17, 2008. My greatest agony is in sustaining a thematic idea. Given the short length of both my compositions, as well as the impatience I had whilst writing, the themes that form beautifully in my head never fails to slim down to mere spasms of the original idea whilst in transition from brain to paper. When lessons came into play, knowledge was beget in me, my consciousness towards matters such as register, dynamics, harmony, rhythm, etc. was very much awakened. Following which was t...

4

NJC MEP IP1/2 2008: audrina's analysis

http://njcmepipwabbitsofyear2008.blogspot.com/2008/12/audrinas-analysis.html

Thursday, December 18, 2008. From bars 63 to 72, the melody is played by strings section excluding the double bass. The registers are going up for the woodwinds and especially the harps. The texture here is especially thick. In bar 70, almost all the sections are moving in an upward motion. There is also an increase in dynamic the loudest being ff which is also the loudest in the whole overture. Subscribe to: Post Comments (Atom). NJC MEP IP1/2 2008. A) Identify the climax points throughout the .

5

NJC MEP IP1/2 2008

http://njcmepipwabbitsofyear2008.blogspot.com/2008/12/1st-climax-bar-17-20-most-obvious.html

Wednesday, December 17, 2008. 1st climax (bar 17-20). The most obvious change is the crescendo. The giant contrast of dynamics from soft to loud together with the thickening of texture and the inclusion of the Cors a pistons accentuates the climax’s presence. The use of lower register instruments such as the double bass and the bassoons tipped off with the strings increasingly strong tremolo introduces an “underwater wave” effect. 2nd climax (bar 40-50). 3rd climax (bar 59-62). 4th climax (bar 67-72).

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NJC MEP IP1/2 2008

Saturday, December 27, 2008. A) Identify the climax points throughout the piece with the use of bar numbers, and tell Miss Huang how they are achieved using what Dr Kelly Tang has taught us (i.e. diminution of rhythm, thickening of texture, muted strings - bowed strings, addition of the lower brasses (register) things like that. 1 From bar 17 to the first quaver beat of bar 20. 2 From bar 24 to the first crotchet beat of bar 25. 3 From bar 37 to bar 50. 4 From bar 63 to bar 71. Sunday, December 21, 2008.

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