In section B continues to play in D minor scales but with tempo Adante. The second part, namely the B located in bars 109-137. In section A contained in bar 1-108 where the part played in D minor scales with an initial maturity Moderato then move to the tempo of Allegretto. Part C contains the sentence c, c1, c2, c3.
Part A contains the phrase a, a1, a2, a3. From this background, the author wishes to make a piece of music entitled "Blaze" in which a musical work tells the story of the spirit that possessed by students Sendrtasik major force guitar 2012 in proceeding to develop the existing KKM guitar ensemble at the State University of Surabaya.
TANGGA NADA KUNCI C SERIES
But in the whole process that we want and we run to the best of the series a sense of spirit.
TANGGA NADA KUNCI C HOW TO
The spirit is how to prove and maintain the spirit itself. Kata kunci : Ansambel gitar, Variasi melodi, Blaze Karya ini memiliki total 205 birama dengan durasi 8 menit 32 detik yang memiliki beberapa macam variasi melodi di dalamnya, guna menghasilkan sajian komposisi musik yang baru dan menarik, serta disajikan dengan format ansambel. Karya musik Blaze menggunakan beberapa bentuk variasi melodi di dalamnya, yaitu melodic variation and fake, rhytmic variation and fake, composite melodic variation and fake, Counter melody, cliché, filler like obbligato dan dead spot filler. Pada bagian ini berpindah ke tangga nada D mayor dan kembali dimainkan dengan tempo Allegretto, dimana bagian ini adalah bagian final. Bagian selanjutnya adalah bagian C yang ada pada birama138-205. Pada bagian B tetap dimainkan di tangga nada D minor namun dengan tempo Adante. Bagian kedua yaitu bagian B terletak pada birama 109-137. Pada bagian A terdapat pada birama 1-108 dimana bagian tersebut bermain di tangga nada D minor dengan tempo awal Moderato yang kemudian berpindah ke tempo Allegretto. Dari latar belakang tersebut, penulis berkeinginan membuat sebuah karya musik yang berjudul “Blaze ”dimana karya musik ini menceritakan tentang semangat yang dimiliki mahasiswa Sendrtasik mayor gitar angkatan 2012 dalam berproses untuk mengembangkan KKM ansambel gitar yang ada di Universitas Negeri Surabaya. Tapi dalam seluruh proses yang sudah kita inginkan dan kita jalankan sebaik mungkin dengan rangkaian rasa semangat tersebut. Tentunya bukan sebuah rencana di awal saja. Simple : the 7 has to go a half step down (major is 1 3 5 7, dominant is 1 3 5 b7).Semangat adalah bagaimana bisa membuktikan dan mempertahankan semangat itu sendiri. Now what needs to happen if we want to make this chord dominant? In our example we have got a Cmaj9 chord with the 3rd (E) in the bass. There are three types of chord inversions : with the 3rd in the bass ( first inversion), with the 5th in the bass ( second inversion) or with the 7 in the bass ( third inversion). Instead of playing the root of the chord, we now play the 5th on the high E-string.Ī chord like this is called a chord inversion : a chord that has a note other then the root in the bass. This would be a nice chord if you’re playing bossa nova, solo guitar or in duo setting, but if you play with a bass player and you don’t want to get in his way, it’s better to omit the root and to play on the higher strings only : We exchanged the 5th on the D-string for the 3rd and we changed the 3rd on the B-string to a 9. Instead of duplicating the root on the G-string, we exchanged it for the 7 of the chord. This chord doesn’t sound very jazzy though, so let’s spice it up a bit : You see that it is ok to duplicate chord tones, like the 1 and the 5 in our example, but it may sound a bit sluggish. 5 : the 5th is played again, but this time on the high E-string
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