Excerpt+6

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Question: =** This piece has been referred to as 'the ultimate build-up'. The music grows from fragility to power. **= =** Describe how the composer achieves this. **=

The excerpt begins with a great feeling of fragility because of the sparse texture and instrumentation, unpredictable rhythms and pulse and the lack of a melody. The sparse instrumentation at this point included glockenspiel and wind chimes and various other cold and metallic sounding instruments. The bell and glock gradually introduce a pulse and melody to the piece. The pulse is steady but is quite polyrhythmic as the bell plays a contrasting subdivision to the glock and the rest of the ensemble. This signifies the beginning of the gradual build towards power as the excerpt at this point sounds slightly less fragile. The violin enters with a fast trill high in its register at a low dynamic. This helps to convey the fragility of the piece at this point. The larger wind chimes play the main melody of this section. All the instruments selected in this section are naturally quite soft which is vital in portraying fragility and emphasising the build up to power.

The entry of timpani and lower strings marks the start of the enormous build to power and strength! The lower strings and timps play in call and response and the timpani plays on beat 1 which clearly contrasts with the fragile and unpredictable pulse of the first section. The high strings now contrast with the low strings at the bottom of their register. The timpani begins (adding to the texture) a melody with fast changes in pitch. This marks the start of the crescendo throughout the ensemble. From here the texture only builds and builds to the climax. The glock part changes to a rather frantic and more virtuosic melody. The glock along with the timps have a sense of urgency in their playing contantly driving the piece. The violin part becomes much stronger as the tremolo in the high violin part is split into two to emphasise the louder dynamic and intricacy of the build. Bass drum on beats 2 and 4 greatly emphasise the build to power because of the timbre and strong recurring rhythm.

In the final section which is the climax of the piece the texture is very full. Violins and harp both play an arpeggiated ostinato which adds to the dynamic vitality in the texture. Beat 1 is strongly accented by the lower violins which helps to suggest the feeling of power. Large chimes have a grand and loud melody. Each note of the chimes melody starts with a violin arpeggio and the chimes echoe over the higher strings making the piece feel very powerful and climactic at this point. The drum roll adds to the texture greatly. Drum rolls themselved are naturally very loud and powerful portraying the feeling at this point of the piece. It is perfect for the situation. Rory

This piece is in two sections and the build can be displayed as a contrasting table: -The piece begins with a metallic cold sounding instrument, (wind chimes) fragile, unsettling. -Triangle enters again a very cold metallic sound building the cold eerie mood. -The glockenspiel enters with an ostinato with a mystical and cold sound adding another layer to the very eerie cold texture -Tubular bells with a different ostinato pattern begin and this is more ringing than the other instruments which acts as a sort of foreshadowing to the next section maybe, more resonant but still very metallic sounding. - Shrill Trills sustained in the upper strings at high pitches create a very unsettling tone colour. -Violas and cellos and double bass's have fragmented scallic runs in medium registers creating a quite airy sound, adds a sinister layer to the build section. -Timpani enters with a warmer thumping sound willing the music forward to evolve into the next section -Bass drum enters with low bassy hits creating an even more sinister and mysterious mood, and thumping with the timpani //Try to avoid terms like 'thumping'// -Overall tone colour gives a quite eerie and sinister effect with its constantly evolving layers of cold metallic instruments and haunting flowing strings. || Tone Colour: -Strings and Harp have fortissimo arpeggio chords creating a very strong unison sound, which is the basis of the tone colour of this section. Still quite shrill but with drive and focus. -The glockenspiel, tubular bells and other pitched percussion provide a very accented strong sounding unison melody, predictable with decending passages. -Much brighter overall tone colour, piercingly strong. || -Unpredictable by nature at the beginning with the wind chime entry -when the triangle comes in one feels as if it has the beat but when the next entry of the glockenspiel arrives the triangle changes rhythm dramatically playing very unpredictable notes. -Glockenspiel has repeated rhythmic patter that provides some kind of stability but as soon as the rest of the strings enter and the tubular bells it is as if the composer sets up rhythmic ideas and beats and with the next idea 'breaks' them which adds to the sense of fragility of this section as the piece is constantly being broken and evolving. //Excellent// -Off beat emphasis everywhere with timps and bass drums unless when they are driving the piece forward to the next section. || Rhythm: -Arpeggio's rhythmic unison with harps and strings creates a very clear sense of rhythm and meter. Unified effect. //Good - its more solid and definite.// -Accents on the first beat of each bar further emphasis the strength in meter -Much simpler rhythmic ideas mainly using semiquavers, quavers and crotchets. -No off beat emphasis, all on beat with arps. -Overall Rhythm is much simpler and is predictable, creates that sense of power and strength. //Excellent// || -Builds in layers starting with very sparse texture adding new layers with different instruments playing repeated patterns. -Builds and builds getting more and more complex and polyphonic until hitting the very thick texture of the 2nd section || Texture: -Very thick texture, created by emphasised arpeggio patterns in unison with the harps and strings. -Strong homophonic texture created with the arpeggio accompaniment and the pitched percussion with its predictable and simple descending melodic phrases || Troy Rogan //Excellent detail Troy; just note that the table idea was designed as a 'warm up' exercise. This question really needs to be answered in paragraph form, or detailed dot points which focus on the **gradual transition** from fragility to power. Perhaps have another attempt in paragraph form, and keep referring back to how the music progresses from fragility to power.// The composer achieves the ‘ultimate build up’ from fragility to power through use of instrumentation, texture, tone colour and rhythm. **Instrumentation**: The piece starts with a metallic sounding percussion instrument (possibly wind chimes). As the piece continues, glockenspiel, upper strings and tubular bells are introduced all playing in their upper register which creates a fragile mood. Lower strings enter next, followed by timpani and saxophones which add depth to the sound and start to drive the mood. At the height of the build up, all the above-listed instruments are playing and the harp is introduced. This thick ‘tutti’ creates the powerful mood. //Describe in more detail how these instruments create an atmosphere of fragility.// **Texture:** The piece starts with a thin, sparse texture created through only one instrument playing (wind chimes) which creates a sense of fragility. As more and more instruments are added, layered polyphony is created and the texture begins to thicken. At the height of the build up, a thick, rich and powerful homophonic texture is created through many of the instruments playing a triplet, arpeggio accompaniment in rhythmic unison with a melody over the top. **Tone Colour**: The cold tone colour of the metallic percussion played in a very high register combined with the shimmering effect of upper strings playing a trill also in a very high register, the lower strings playing sul ponticello and the soft dynamic create a fragile mood at the start of the piece. At the height of the build up, a much warmer and richer tone colour is created through the instruments playing in their middle registers, the loud dynamic and the consonant harmony. //Very good.// **Rhythm**: The rhythm at the beginning is unpredictable and there is no clear sense of pulse due to the nature of the wind chime. As the piece builds, a clearer sense of pulse emerges through repetitive ostinati in each part, however as each instrument has a different ostinati, polyrhythm is created. //Excellent// A driving rhythmic feel is created at the height of the build up through use of the rhythmic unison driving triplet accompaniment played by many instruments. //Also describe how a clear, strong pulse gradually emerges, building a sense of stability and strength.// <span style="color: #ff0000; font-family: Arial,Helvetica,sans-serif; font-size: 12px; line-height: 29px;">//Excellent Emily. Try to keep referring back to how the transition from fragility to power is created. Use other words besides fragility and power, which mean the same thing, to effectively describe the transition.//
 * **Fragility** || **Strength/Power** ||
 * Tone Colour:
 * Rhythm:
 * Texture:

<span style="color: #008080; font-family: Arial,Helvetica,sans-serif; font-size: 90%; line-height: 29px;">Emily Sheppard

<span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Glockenspiel: high register, bright/clear tone colour <span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Strings: High register, very refined tone colour almost “airy” similar to above instrumentation ;
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Element** || <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Fragility** || <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Power** ||
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Instrumentation** || <span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Wind chime: high register, thin tone colour

*TRANSITION TO SECOND SECTION: <span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Violins change to middle register. <span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Cellos enter with dark rumble. <span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Bells also enter towards end of “fragile” section in middle register. <span style="color: #ff0000; font: 12px/29px Arial; letter-spacing: 0px; margin: 0px;">Percussion dominates with straight pulse, creating more military powerful feel. || Domination of percussion, lower register instruments mount in dynamics and melodic prominence.

Bells: more prominent role

Unified instrumentation of all instrumentation including instruments from preceding section. ||
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Melody** || Wind chime: Unpredictable melody, continuous flurry of notes, no tonal centre

Triangle: Enters with single note, high register

Glockenspiel: Arpeggiated melodic line ascending and descending wave-like and predictable

Strings: two note slow trill, suspending any melodic forward motion

*TRANSITION More melodic ideas added as middle range instrumentation is added || Simple yet effective bells melodic pattern of primarily three notes repeated emphasising strength of new section with more defined melodic ideas

Strings in particular play minor arpeggio in chord form, following bell melody.

Increased melodic structure emphasised through increase in percussion. ||
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Rhythm** || Repetitive suspended rhythm. Each instrument allocated rhythmic pattern. Very simple straight rhythm, quavers, crotchets and very even trills.

TRANSITION: Drums are added making rhythm more steady and driving, creating structure within piece. Becomes more polyrhythmic as rhythmic ideas are layered one on top of the other || More unified rhythmically, less polyrhythmic than transition. Strong percussion section emphasises pulse and start of each bar. || TRANSITION: Texture continues to thicken and become more complex as more instrumentation, melodic and rhythmic ideas are added to the mix. || Texture becomes chordal homophony, with unity of melodic lines to form one sweeping line, with untuned percussion. Increases power and impact of overall “wall of sound.” || *TRANSITION: More vibrant tone colour emerges with addition of bells and cellos. || Very energised tone colour of bells dominates, whilst all other instrumentation unifies to create lush, less shallow tone colour. //<span style="color: #000000; font-family: Tahoma,Geneva,sans-serif; font: normal normal normal 12px/normal Helvetica; letter-spacing: 0px; margin: 0px;">TC becomes warmer, richer and fuller - creating a sense of stability and power. // ||
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Texture** || Layers of instruments are added gradually, in order of instrumentation, building a multi-layered composition. Each melodic line simple idea, gradual layering. Multiple independent melodic lines.
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Tone Colour** || Very hollow ringing tone colour, no depth. Individual instruments not rich in tone colour but combine to form a delicate “sound web.”
 * <span style="color: #ff0000; display: block; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: 0px; line-height: normal; margin: 0px; text-align: center;">**Register** || High register domination at start

*TRANSITION:Gradual increase of middle and low register instrumentation and melodic ideas (such as medium register bells and low register cellos) || All registers used to form full lush chords. High register continues to dominate in the harmonic accompaniment of the strings. Main melody of bells remains in middle register. || Harriet Davies

<span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal;">**The excerpt builds to a triumphant climax, the composer utilizing a series of layers placed upon each other to create this “ultimate build up”:**

<span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal; text-indent: -18pt;">· **Layer 1: - Chimes and bells are used, freely at first, playing improvised clusters of notes. With the introduction of a cymbal a pulse is established. This is followed by a repeated, conjunct melodic figure played on bells, this scalic theme maintained throughout the excerpt, this later accompanied by another melodic motif performed on a different, larger bell.**

<span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal; text-indent: -18pt;">· **Layer 2: - The introduction of strings now becomes the prominent focus, the bells from prior now a supporting foundation. Initially there is just the sustained, high pitch in the violins creating an eerie mood, as well as “filling out” the texture with new instruments, this later becoming a tense harmony. This is then accompanied by a frenetic, dissonant cello line repeated underneath the violins to build tension. Due to the polyrhythmic nature of these varying layers, no clear pulse is established.**

<span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal; text-indent: -18pt;">· **Layer 3:-The timpani outlines a crotchet pulse, thus giving the work a distinctive sense of time. As each layer enters the dynamic level of the ensemble rises, this in itself helping to create a buildup of tension.**

<span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal; text-indent: -18pt;">· **Layer 4: - A complete shift is abruptly found marking the climactic point, the layers from prior no longer repeating the parts from before, all now playing a new arpeggiated figure in unison. The fact that the entire ensemble is playing in unison, with the exception of the large bell and timpani, immediately creates a much thicker texture and stronger dynamic level, this helping to create a climax. The main melody is played by the large bell, the rest of the ensemble accompanying by outlining the harmonic progression in broken chords. Rhythmically, there is a very obvious pulse, the repeated ostinati played by almost the entire ensemble achieving this. The overall mood of this final section is euphoric and triumphant, the new theme clearly establishing this.**

<span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal;">**It is through this series of layers, as well as the manipulation of rhythm, tone colour, texture, melody and instrumentation, that the composer can create such contrast between beginning and ending.** <span style="color: #2300ff; font-family: 'Courier New',Courier,monospace; line-height: normal;">**Matt** //Excellent Matt - the use of words 'euphoric and triumphant' describes the ending very well. Well done.// Texture: Fragile Section: - Texture starts off thin with wind chime type instrument-monophonic texture results in cold and isolated atmosphere. - Tuned percussion (xylophone) instrument comes in on top of this creating polyphonic texture. - Strings are added, resulting in a prominent effect. Many parts = busy texture. Powerful Section: - Tubular bells indicates the transition between the two contrasting sections. - Texture is extremely busy and chaotic due to the adding of instruments/parts; complex texture very full. //Layers are added gradually, so texture builds up over time.// - Polyphony. //Describe what is actually happening, rather than using one word.// - All instruments play repeated motif towards end of excerpt except for tubular bells accenting beats irregularly. Texture remains full and rich, just not as chaotic. Tone Colour: Fragile Section: - Eerie and mysterious sound created by metallic sounding instrument. - Glockenspiel enters and adds to the already eerie existing tone colour. - Strings play vibrato accompaniment underneath which creates suspense within the piece. //Very high register contributes to eerie effect.// Powerful Section: - Chimes/tubular bells create strong effect and add to the suspense of the piece. - Continuing of other parts drives the eerie tone colour to continue throughout this section also. - Lower stringed instruments play repeated ascending ostinato adding suspenseful tone colour. - The addition of more percussion intensifies the piece. -Glockenspiel at one point has main melody and the melody is portrayed to an extent in which the music feels as though it is going to 'loose control'. - Brighter and stronger tone colour. Rhythm: Fragile Section: - 'Free time' no set rhythm, sounds improvisatory, more about the sound created rather than rhythm. - Simple rhythms by glockenspiel and tubular bells. //Layers of ostinati// - Off-beat emphasis by timps and bass drum. Powerful Section: - Arpeggiated rhythmic unison from harps and strings. - Clear and direct sense of meter. - First beats of bar accented. - Simple rhythmic ideas use of crotchets, quavers and semiquavers. - Predicatable rhythms creates sense of power and strength. - Rhiannon Johnstone //Well done Rhiannon. Excellent overall.//

<span style="color: #404040; font-family: Verdana,Geneva,sans-serif;"> Mateusz Gwizdalla:

The excerpt opens with very fragile timbres achieved by using unpredictable, unpulsed rhythms, sparse textures and no melody. These instruments include windchimes, glockenspiel and other cold, metallic-sounding instruments. The glockenspiel and bell entries introduce a sense of pulse and melody by adding each a layer of ostinato. The music now begins to introduce strings, shifting the focus away from the percussive, metallic sounds. The first of these entries is a high, shrill violin seciton trilling. Several of these high string layers together create a shimmering tone colour that matches well with the timbre of the percussion instruments. Lower strings then enter with lower register, 3 note rising motifs, bringing our attention melodically, rhythmically and timbrally as this is a new sound, scratchy but not cold like the other strings. All these layers create a complex, polyrhythmic sound, and as the rhythmic values are brought together and shorten these all culminate into the next section.

This new section is the height of the build-up and power is achieved by having a strong, unquestionable pulse and predictable rhythms, a suddenly strong sense of tonality and a full, rich sound. This is all achieved by large arpeggions played in all hte strings as well as harp over all the registers. The power is then accentuated by a very strong and clear melody played in the bells and other percussion (glock?), now the centre of interest.

Glass achieves the transition from fragility to power by moving from instability to stability using a wide variety of musical elements. //Excellent Mateusz 9/10//

<span style="color: #1d1de7; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">The composer is able to achieve this 'Ultimate Build Up' between the frail and dominating sections through the use of Instrumentation, Texture, Tone Colour and Rhythm.

<span style="color: #2926ed; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">Instrumentation: <span style="color: #2926ed; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">Wind Chimes (?) opens the piece and start high in register producing a very cold and brittle sound. As the piece begins to grow other instruments start being added to the texture: Triangle, Glockenspiel, High Upper Strings trilling and Tubular Bells which creates a muted and unfinished sort of mood. Timpani and Lower Strings are added to the texture playing a call and response between each other, then Bass Drum enters playing on the beat with the Timpani part which then leads into the gradually growing lower and upper string like trills and runs which. This finally leads into the major scale run into the more powerful and full section which has harps and a guitar of some sort, which creates a much more full and clear texture and tone colour.

<span style="color: #2926ed; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">Tone Colour: <span style="color: #2926ed; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">The cold and brash sounding tone colour of the metallic percussion instruments played at the start of the excerpt combined with the high trills of the upper String section, the lower String section playing like it sounded on the bridge and really quite dynamic level do create a fragile and muted tone colour. At the end of the build up everything is much warmer and less muted sounding, this is because of the instruments playing roughly in the middle of their registers and also playing at a much louder and more comfortable dynamic level.

<span style="color: #2926ed; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">Rhythm: <span style="color: #2926ed; font-family: 'Comic Sans MS',cursive; font-size: 16px; line-height: 23px;">The beginning of the excerpt opened by the Wind Chimes is unclear and gives no clear sense of pulse due to the Wind Chimes being quite difficult to keep a easy pulse. As the excerpt grows, the sense of pulse becomes clearer through the ostinati in all parts, but polyrhythm is made as each instrument is playing an independent part. A driving rhythm is created as it builds up at the peak of the first section. In the second section, the pulse is very clear through the vertical rhythm accompanied by the triplets played by many instruments.

<span style="color: #002788; font-family: 'Comic Sans MS',cursive; font-size: 17px; line-height: 25px;">Joshua Lee <span style="color: #ff0000; font-family: 'Comic Sans MS',cursive; font-size: 17px; line-height: 25px;">//Excellent Josh- you forgot to cover texture. Bit more detail needed on tone colour - emphasise the thin, brittle fragile sound at the start and its transition to a bigger, warmer more grandiose sound.// <span style="color: #ff0000; font-family: 'Comic Sans MS',cursive; font-size: 17px; line-height: 25px;">//7/10//

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The composer achieves the transition from fragility to power mainly through changes in texture and dynamic. This piece can be divided into three main sections. The fragile and quiet opening to the build-up in texture and dynamic also using special effects in the strings to reach the powerful and grand ending section.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The opening section uses the twinkling of small wind chimes and triangle to create a very soft dynamic and thin texture. The glockenspiel enters with a simple, repeating pattern which descends and ascends symmetrically adding another layer to the texture. <span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The upepr strings enter at the top of their register with fast trills. The upper strings at the top of their register with a very soft dynamic create a fragile effect. The larger wind chimes enter with the main melody of the first section and the other instuments accompany. The composer has chosen instruments with a fairly soft dynamic range - violins at the top of their register, small chimes and glockenspiel, to create a fragile, quiet opening section.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The entry of the lower strings and timpani (single low pitch) signifies the change to the start of the middle section and build-up to the last section. The lower strings have a short repeating motif in call and response with the low timpani. The timpani plays on the first beat starting to form a rhythmic structure from the uncertain rhythm of the opening section. The lower strings at the bottom of their register contrast with the upper strings and create depth to the texture. The entry of the timpani melody with fast changes from each pitch adds to the texture and signifies the start of the crescendo in all instruments.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The glockenspiel changes to a faster, busier melody adding another layer to the texture which is now fuller, busier and more frantic. The glockenspiel and timpani also create and urgency and a driving, almost rushing, rhythmic effect.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The second violins seperate in pitch from the first violins creating a louder tremelo effect. The violins then crescendo on the new lower pitch adding to the louder overall dynamic now created.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The bass drum plays on beats 2 and 4 creating a strong rhythmic pulse and the strings have glissandi.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The glockenspiel moves from its previous melody to a high-pitched, frantic trill. The violins begin a short, repeating motif before an ascending scales crescendos into the final section.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">In the final section the violins have an accompanying role with an arpeggiated, repeating motifa. The entry of the harps in doubling the violins arpeggiated figure adds to the importance and dynamic role in the texture. The lower strings enter at the end of the arpeggio and beginning of the new arpeggio to accentuate the first beat and the strong, stable rhythm. <span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">The large chimes have a repeating motif with a simple rhythm which ressonates strongly. Each note of the chimes melody fits with the beginning of an arpeggio in the strings. The chimes echo over the top of the strings creating power and grandeur. There is a drum roll that adds the texture and strength of the atmosphere created before the violins shift down in pitch and diminuendo.

<span style="color: #800080; font-family: Georgia,serif; font-size: 17px; line-height: 25px;">Justine <span style="color: #ff0000; font-family: Georgia,serif; font-size: 17px; line-height: 25px;"> //Excellent Justine. Very impressive use of language and analysis of the excerpt. 10/10//

//Excellent Widdy. Nice noting of the use of modulation and strong sense of key to introduce stability. More detail needed on how changes occur in the rhythm - it really moves from little pulse - quite erratic rhythm to a strong stable metre. Great work on texture, tone colour and instrumentation. 8/10//
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">The Composer uses Instrumentation, Rhythm, Tone colour, and Texture to create ‘the ultimate build-up’ from fragility to power. **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">__Instrumentation__ **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin-bottom: 10pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">First of all was the chimes that create a cool, breeze-like atmosphere. Then the glockenspiel starts the melody by playing D minor arpeggios down and up the high register to create a mysterious, cold, metallic sound. It then builds up by the strings playing fast trills in the high register to create tension in the mood, then the tubular bells come in to create a church-like/open sound still in the high register. Then the cellos and the violas come in by doing repeated fast scalic passages up, in the middle register. Later on, bass drum and timpani comes in doing soft hits to move the section forward to the next section; in this moment, the cellos’ and violas’ scalic passages are now more complex and busy. It gets louder and the strings gotten faster, their scalic passages go higher each time. Then everyone is playing the same melody which is E major arpeggio up and down, a change to a Major key while the cellos are playing a drone note in the bass. Then the tubular bells come in again to play the melody and emphasise the bass of the chords in the harmony that the strings and glockenspiel are playing. Then harp and violins are ‘answering’ to the ringing of the consistent note that the tubular bells are playing. **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">__Rhythm__ **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">The piece begins with unpredictable rhythm because of the chimes and then the glock is playing straight quavers in 4/4, then the tubular bells comes in on the offbeat, and make the pulse unclear. However, when the piece builds up to the next section, more instruments are playing the same rhythm (unison triplet) in the strings and the harp, and the bells are doing crotchets, doubling and emphasising the beats. **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">__Tone Colour__ **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">The composer uses the effect of high-registered and metallic instruments to create the fragility (glock, chimes, turbular bells). The strings which are playing fast repeated trills and ostinati patterns create tension in the mood, which help builds up the section from fragility to power. The power was created by the rhythmic unison that most instruments are playing, as well as their loud dynamics. The tone colour is much warmer and richer, rather than in the beginning, the tone was very brittle. **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">__Texture__ **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">The piece starts with a thin monophonic texture created by the chime that created the sense of fragility. The texture thickens after the addition of more instruments, such as the glock, strings, turbular bells, cellos, and harp. In the middle of the piece, every instrument is playing their own melody in different rhythms which creates the busy polyphonic texture. This drive then moves to a rhythmic unison, when nearly everyone is playing the same rhythm that creates the grand, majestic texture that creates the sense of power. **
 * <span style="color: #ff4500; font-family: Arial,Helvetica,sans-serif; margin: 0cm 0cm 10pt;">Widdy **