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This melody consists of two eighth notes followed by four quarter notes, two more eighth notes, and a final quarter note. It repeats four times, with the first two occurrences being identical and the last two varying. The end quarter note in the last repeat of the melody is tied to two whole notes and crescendos as the strings continue to play their repeating phrases.

After another three measures, the harp plays a rising phrase. In the next bar, the French horns play the melody, and the trombones echo it in the background. Then the strings repeat their phrases for a few more bars, this time accompanied by the flutes , and then the London Voices return with their Sanskrit chant.

Symphony No. 5 (Beethoven)

Meanwhile, the trombones play the otif's main melody. This is followed by more repetition of the string phrases intermingled with accented notes and phrases from the tubas and trumpets.

Then the London Voices return with the chant, and the French horns and trumpets trade out on the primary melody. The trumpets join the strings as they continue to repeat their phrases, crescendoing into a chorus chant of two eighth notes followed by a quarter rest, which repeats eight times as the trumpets play between every other phrase. The chant switches back to its original form, and the trumpets continue to play accented notes between phrases. The brass and strings then join in playing the strings' repeating phrases in unison. The piece becomes quiet with only the strings continuing.

Woodwinds come in with the theme's primary melody followed by the French horns and trumpets. The strings then start playing phrases composed of triplets. The main melody is traded between the flutes and French horns, and the orchestra grows into an instrumental version of the piece's second chant. The chorus then returns singing the first chant. Between each pair of notes in the chant are the trumpets playing the string phrases and the French horns playing the theme's melody, with the trumpets playing between the first and third pairs and the French horns between the second and fourth.

The second chant is then repeated, followed by the first quarter of the first chant, as the brass and strings once again join in playing the string phrases. The chant is repeated with a timpani roll in the middle. Next the entire orchestra plays the string phrases while crescendoing, followed by an upbeat trumpet part and a bongo part.

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The orchestra returns with the string phrases, and then the piece quiets as the strings continue their phrases and the woodwinds once again perform the melody. The Voices return with the first and second chants. The trumpets play the string phrases, the timpani plays a solo, the trumpets return with six eighth notes, the bongos roll, and the piece ends with one hit of the string phrase. In the Star Wars Episode II: Attack of the Clones soundtrack , the motif makes one appearance three minutes and thirty-five seconds into the tenth track, titled "Return to Tatooine.

It is played in instrumental form as another major character, Queen Amidala , is ambushed along with her guards by battle droids with rolling capabilities and shields called droidekas in the Theed Hangar , and as Darth Maul and the Jedi activate their lightsabers at the commence of their duel. It is used again as the duel moves from the hangar to a generator complex. The cue comes to an end as plasma shields separate the three combatants for the first time.

The original recording is used during the film's end credits.

Program Notes | Symphony Silicon Valley

The piece concludes as Yoda falls from the Chancellor's podium. In Solo: A Star Wars Story , the theme briefly recurs as Maul, now revealed as the secret leader of Crimson Dawn , instructs Qi'ra to begin dealing with him more personally. It also appears in the GBA and DS versions for the same game, specifically during the Duel on Mustafar level, although its exact version varied: The former had a synthesized version of the theme being played as depicted from the film, and the latter had the vocals, although based on the version from Attack of the Clones.

A brief motif is also used when the Sith Inquisitor character kills Darth Zash and takes control of her Sith apprentices. The dancer then nods their head as it faces right on beats two and three. Next, the dancer hops to the right and switches arm positions so that the left hand is now extended and the right is arched. The head turns and faces left before nodding on beats two and three again. The motif is also used as background music in the audio books for Attack of the Clones [51] and Revenge of the Sith , [52] published in [51] and respectively.

Symphony No. 4 (Tchaikovsky)

In the Revenge of the Sith audio book, the piece is played during the duel between Yoda and Palpatine in the Senate Retunda. The books are available for the following instruments: trumpet, piano, easy piano, clarinet, flute, tenor sax , and alto sax , [10] and the Attack of the Clones book is also available for trombone. The book is available for both treble clef and bass clef. The treble clef version was the original, but the bass clef version, a piano accompaniment version, and versions in the keys of C and B-flat were all released on September 1 , A version in the key of E-flat was released on January 1 , The music draws up to a half-cadence on a G-major chord, short and crisp in the whole orchestra, except for the first violins, who hang on to their high C for an unmeasured length of time.

Forward motion resumes with a relentless pounding of eighth notes. The first movement is in the traditional sonata form that Beethoven inherited from his classical predecessors, Haydn and Mozart in which the main ideas that are introduced in the first few pages undergo elaborate development through many keys, with a dramatic return to the opening section—the recapitulation—about three-quarters of the way through. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody.

Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. The codetta is again based on the four-note motif. The development section follows, including the bridge. During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.


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  • THE INFERNO.

Following the variations there is a long coda. The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, and violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself.

This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe, and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos and a coda to close the movement.

The third movement is in ternary form, consisting of a scherzo and trio. It follows the traditional mold of Classical-era symphonic third movements, containing in sequence the main scherzo, a contrasting trio section, a return of the scherzo, and a coda. However, while the usual Classical symphonies employed a minuet and trio as their third movement, Beethoven chose to use the newer scherzo and trio form.

The movement returns to the opening key of C minor and begins with the following theme, played by the cellos and double basses:. The opening theme is answered by a contrasting theme played by the winds, and this sequence is repeated.

Then the horns loudly announce the main theme of the movement, and the music proceeds from there. The trio section is in C major and is written in a contrapuntal texture. When the scherzo returns for the final time, it is performed by the strings pizzicato and very quietly. The third movement is also notable for its transition to the fourth movement, widely considered one of the greatest musical transitions of all time.

The fourth movement begins without pause from the transition. The music resounds in C major, an unusual choice by the composer as a symphony that begins in C minor is expected to finish in that key. Many assert that every minor piece must end in the minor. Joy follows sorrow, sunshine—rain. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. It is not known whether Beethoven was familiar with this work.

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The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form.