United States or Montenegro ? Vote for the TOP Country of the Week !
The baritone had eaten something that did not agree with him, and he stopped playing and laid down in a life boat, the alto became cold around the extremities and quit playing and went to the smoke stack to warm himself, the b-flat began to perspire and quit playing and fanned himself with the cymbals, and all of the horn blowers were e-flat and b-flat on the deck in less than two minutes.
It is formed mostly of the four tones D-flat, E-flat, A-flat, and B-flat. All of these belong to the pentatonic major scale of D-flat. This gives a very marked pentatonic flavor, yet the song is not in the pentatonic scale, for the singer introduces half steps, and there are no such intervals in the pentatonic scale.
The two blended, in forte, with a powerful chord of sevens. There was a struggling, a separating, a wandering on, and out of the subdued pianissimo there arose and floated in space a gentle voice in E-flat minor. O voice from the sea, O humanity on earth!
The singer makes use of all the scale tones of the major key of E-flat, except the D-natural. The B-natural found in the next-to-last measure is a passing tone, and does not affect the scale or tonality. At that point the suggested supporting harmony is an augmented triad upon the tonic leading into the subdominant. With the exception of this one measure, the song is in the five-note scale.
Other of Strawinsky's compositions are: Opus 1, "Symphony in E-flat"; Opus 2, "Le Faune et la Bergère," songs with orchestral accompaniment; Opus 3, "Scherzo fantastique"; Opus 4, "Feuerswerk"; Opus 5, "Chant funèbre" in memory of Rimsky-Korsakoff; Opus 6, Four Studies for the pianoforte; Opus 7, Two songs; "Les Rois des Etoiles," for chorus and orchestra; Three songs on Japanese poems with orchestral accompaniment; Three pieces for string-quartet; An unpublished pianoforte sonata; A ballet for clowns.
This behavior seems to be intentional on the part of the performers, as it occurs precisely the same in each of the four lines of the song, though not quite so well defined the last time owing to the fact that the upper voice does not come out so strong on the E-flat. This is indicated in the notation by a small square note. Part 1 is in the very unusual rhythm of 5/4.
In the keys C-, G-, D-, F-, B-and E-flat major the eighteenth century still found characteristic peculiarities which we are scarcely able to hear at present; to the over-irritated modern ear these simple keys sound flat, colorless, and empty; instead, we have dug our way deeper and deeper among the out-of-the-way keys, and melodies which our fathers made use of only to produce the rarest and strongest emotions have already become the daily bread of our composers.
In the fourth measure of each line we find a peculiar splitting up of the parts, one voice holding the C, while the other skips to the E-flat above, thus producing the harmony-interval of a minor third.
It was far into the night when the brethren went home. As they passed along through the streets they bellowed their nocturnal serenades at the windows of the otherwise peaceful houses. As the hilarious laughter and vocal rowdyism reached Daniel’s ear, he detected from out of the hubbub a gentle voice in E-flat minor, accompanied by the inexorable eighth-notes sung with impressive vigour.
The eighth note, unpitiable as ever in its elemental power, cut into the bass with the strength that moves and burrows as it advances, until it was caught up by the redeemed voice in E-flat major. And now everything suddenly became real. What had formerly been clouds and dreams, longing and wishing, at last took shape and form and stood before him.