Waltz of the Mermaids - The Golden Symphony. Finely Crafted Symphonic Creations by Lee Fitzsimmons.

Finely Crafted Symphonic Compositions by Lee Fitzsimmons

Merry Symphony
Third Movement - Waltz of the Mermaids

The two motives are cleverly developed both rhythmically and harmonically in a three-four time signature.

Waltz of the Mermaids

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INSTRUMENTATION

Wooden flute - Lee Fitzsimmons * French horns - Lee Fitzsimmons * Trumpets - Lee Fitzsimmons * English horn - Lee Fitzsimmons

Clarinet - Lee Fitzsimmons * Bassoons - Lee Fitzsimmons * Trombone - Lee Fitzsimmons * Strings - Lee Fitzsimmons

Pizzicato strings - Lee Fitzsimmons * Snare drum - Lee Fitzsimmons * Triangle - Lee Fitzsimmons * Crash cymbals - Lee Fitzsimmons

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PRIMARY MOTIVE...

The Musical Notation of the Primary Motive of the Merry Symphony

SECONDARY MOTIVE...

The Musical Notation of the Secondary Motive of the Merry Symphony

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The third movement begins with a sequence of instruments presenting a variation of the first motive in a three-four time signature. This presentation consists of two twelve bar sections that also feature a wooden flute playing many different arpeggiated figures, and the strings performing a pizzicato accompaniment that serves as a rhythmic and harmonic foundation. In the next fourteen bar section several different instruments take turns playing a rhythmic variation presented in the second movement based on an eighth note followed by a pair of sixteenth notes. This section builds towards the new motivic presentation of this movement that features a variation of the second motive in three-four time.

This new motivic presentation begins at bar 39 with several pairs of instruments performing a variation of the second motive in three-four time. The first four bars of this new motivic presentation feature the horn section playing this variation in two-part harmony. The next four bars feature two trumpets playing this variation in two-part harmony. In the four bars that follow, a pair of bassoons play this variation. In the next portion of the composition, several variations of both motives are presented by many instruments until a gradual build up beginning at bar 55 resolves at bar 73, where a final eight bar section that is very similar to the beginning of the piece presents several instruments performing the same variation of the first motive once again.

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Lee@LeeFitzsimmons.com

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Commercial License

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