more than one cord, which was used as a rhythmic gesture to set up the pulse of the music. Then, the vibrant cello inters the piece by utilizing a method known as, plucking. This created the sassy tone of the baseline. Once the rhythmic texture was set up and the baseline established, the piece dynamically got louder. This intensified the whole mode of the song. Then, the captivating quartet interred the piece, and the beautiful melody was established. After the artistic melody was established, the sound of a cello immediately surmounted the entire piece. Then, the piece reverted back to its original melody with the violinist taking the lead soloist. However, the plucking of the cello could be heard in the background. Through the use of repetition, “cross-rhythms were superimposed which stabilized the prevailing meter for measures at a time” (p402). In fact, the intriguing violinist took up two verses of the melody, which gave a temporary adrenaline rush through my body. Hearing the violinist play in the second verse intensified and shifted the mode to an even higher feeling of ecstasy. The piece reaches its dramatic conclusion with the violin and cello interchangeably trading harmonic verses.Another marvelous musical piece is, Imaginary Day, which was composed by Pat Methane. The musicians consisted of, Paul Wartime, who played the drums, Steve Robby, who played the bass, Pat Methane, who played the guitar, and Lyle Mays, who played the keyboard. “Imaginary Day marked the complete adoption of jazz fusion rock, which utilizes the electric versions of piano, bass, and guitar, and the use of devices such as echo effects, born in the recording studio” (p396). “What is heard is an intricate collage of sounds, synthesized or electronically manipulated, mingled with the occasional sound of acoustic instruments” (p396). I acknowledge the fact that the origins of Imaginary Day stem from 1970&#...
