How Music Works: A Listener's Guide to Harmony, Keys, Broken by John Powell

By John Powell

What is the adaptation among a musical notice and the other kind of sound?

What is concord, and why does it sound good?

Why is it effortless to inform the adaptation among a flute and a clarinet whether they're enjoying the exact same note?

Why do ten violins sound simply two times as loud as one?

What is ideal pitch, and do i've got it?

Discover the solutions to those and plenty of different questions in John Powell's fascinating, straight-talking and ear-opening consultant to what track is and the way precisely it really works. Written via a composer with a PhD in physics, How track Works is a different and exciting consultant. establishing up the area of acoustics and the technological know-how of tune to deepen our appreciation and figuring out of what we take heed to, How tune Works covers topics from the adaptation among how we listen a musical observe and the other type of sound, to a short background of the size procedure, why a run of arpeggios sounds 'romantic' and why a flute sounds diversified to a clarinet. the suitable booklet for gamers and listeners alike.

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Extra resources for How Music Works: A Listener's Guide to Harmony, Keys, Broken Chords, Perfect Pitch and the Secrets of a Good Tune

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As at freedom’s puzzled feet Yawn the gulfs of self-defeat; All but heroes are unnerved When life and love must be deserved. The libretto is most obviously concerned with this at the end: VOICE OF PAUL BUNYAN: Every day America’s destroyed and re-created, America is what you do, America is I and you, America is what you choose to make it. Auden may have addressed these lines to Britten, as a reply to his frequent complaints that America was not living up to its promise: ‘America seems to be letting us down in every way .

He is more than just an adventurous individual who has conquered and opened up new country without violence or bloodshed; rather he has become an embodiment or incarnation of mankind’s spirit of conquest. Presented as a disembodied voice, his melodramatic spoken text inevitably creates problems of musical and dramatic integration. Auden’s libretto lacks satisfactory links between its essentially self-contained scenes, and this to some extent inhibits the development of narrative and character. Weaknesses in a spoken drama may, however, benefit an opera libretto which can be arranged as ‘set-pieces’: the music can heighten the emotional immediacy and rhetoric when continuity is missing in the drama.

The simultaneous sounding of E n and E b in the final bar perhaps indicates the strain between man’s eternal hope and his indomitable will to strive against adversity and misfortune; as Paul Bunyan reassures Johnny: PAUL BUNYAN: I know what you want. It’s harder than you think and not so pleasant. But you shall have it and shan’t have to wait much longer, Good night, Johnny. ‘Bunyan’s Goodnight (iii)’ (No. 17) which follows the ‘Regret’, was added by Britten during revisions to the score in 1974: Now let the complex spirit dissolve in the darkness Where the Actual and the Possible are mysteriously exchanged.

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