In the late middle ages western harmony started on a journey that would take it in a completely separate direction to that of the music of other parts of the world. It discovered chords, and, over the next seven centuries, began to unlock their harmonic possibilities. In this film Howard looks at how western harmony works, and how, in the present day, it has fused with other forms of music to create new styles. Chords led to chord progressions, and Howard looks at how familiar patterns of chord progressions give all kinds of music from classical to popular their sense of forward movement. Why do the same chord patterns appear again and again, from Renaissance Italy to the latest chart hit? Musicians have always liked to tamper with the basic chords, and experiment with dissonance. We see how these tricks of the trade actually work, and the emotional and musical effect they have. From the folk musicians of the middle ages to Bach, Beethoven, and Wagner, from Chuck Berry to David Bowie, Hendrix to Coldplay, the same harmonic techniques surface again and again.
How Music Works With Howard Goodall Torrent
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Music is usually broken down into melody, rhythm and harmony. But what about the very lowest notes in music, that can have an impact on all three? In this film Howard looks at the abiding fascination musicians and composers have had with the bass. For half a millennium instrument makers have been trying to construct instruments of all shapes and sizes capable of thudding, sonorous low notes. Only with the arrival of the synthesizer did they succeed in producing a rival to the mighty organ. With disco, dance, and drum 'n' bass, the bass has arrived centre stage. But bass notes have another, crucial role. Far from just plodding away in the background, bass lines can have a critical effect on the whole structure of a piece of music, helping to drive the chord progressions.
The film periodically shows Churchill's counterpart in the United States, President Franklin Delano Roosevelt, with whom he steadily establishes a strong friendship despite Roosevelt's early dislike for Churchill as a hawkish imperialist. Churchill works relentlessly to persuade Roosevelt to bring the United States into the war, although this does not fully happen until the Japanese attack on Pearl Harbor on 7 December 1941. King George VI, initially dismayed at having to deal with Churchill instead of Halifax, also is won over by Churchill's courage and personal charm over the years. When a naval aide finally brings Churchill the news that Germany has surrendered unconditionally as of midnight on 8 May 1945, Churchill is invited to join the King and his family on the balcony at Buckingham Palace before a jubilant crowd of thousands that has gathered in the street outside.
Leaving aside for one moment the fact that most music is recorded individually in small booths, and not in Studio 1 at Abbey Road Studios with everyone standing in a perfect socially distanced circle, I don't feel that having an interior vantage point is necessarily preferable to having a soundstage.
If this was the production of Evita that was forever touring the UK, then we could all be a hell of a lot more enthused about the future of UK theatre. Bill Kenwright might have the business side locked down with dull predictability but at the Open Air Theatre, Jamie Lloyd is unleashing a torrent of creative genius which proves inordinately exciting to witness.
I thoroughly enjoyed Sing! The Music was Given. It is a forty-minute sonic love letter to the listener about the power of music. Highlights were the whimsical Music Matters, with the secondary choir of ten attending to the matters of music, the enchanting Waterfall Music, and the ebullient Ukukula Umcolo.
The chorus consisted entirely of young singers (most appeared to be pre-teens and teens), which lent a certain charm and innocence that was completely consistent with the texts and the musical styles. One could not help being won over by these youngsters singing with such enthusiasm, not to mention fine diction and projection.
The first half featured the music of Sydney Guillaume, who was on hand to conduct as well. He offered five works, all written in Haitian Creole, reflecting his proud heritage. Mr. Guillaume is a skilled composer, whose works are filled with spirituality and passion. This was especially evident in the first two selections, the powerful Lesklavaj (Slavery), with the plaintive chant of a tenor soloist amidst the steady strength of the chorus behind him, and the equally powerful Dominus Vobiscum (The Lord be with you).
I will take the risk of sounding like a broken record when I state that Jonathan Griffith showed his mastery for the nth time. The orchestra was razor-sharp, and the chorus well prepared, with good diction, no mean feat given the many languages used. It was forty-five minutes of superior music making. Watch the video and you will agree!
The text of the work flows with a natural ease, without any agendas (hidden or unhidden), and the music is sincere and without any pretense. This is a winning combination, and with the unique talents of Dailey & Vincent, it was a winning performance. The audience got into the act with the waving of those white handkerchiefs. It was definitely not your typical concert experience, but it was full of raucous joy, something our world today is often lacking. 2ff7e9595c
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