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The chanted second section reverses the temporal perspective of the first section, and plays with natural speech rhythms onto which are grafted dancing polyrhythms; the powerful hanging ending is a portrayal of human confusion, itself a direct reference to a musical gesture devised by Mark Edgley Smith when setting a self-contradictory poem by E E Cummings.

My Dove is written in the style of an antique lullaby. Based on a softly dissonant ground bass, the harmony rocks back and forth as accompaniment to the lyrical cantilena melody which is shared between soprano and tenor. But for all the simplicity and fluidity of its construction, this is a song that requires considerable vocal virtuosity given its overall range of three and a half octaves—the tenor soloist climaxing on a top D, no less.

Comforting and perplexing at the same time, they create metaphors which allow Pitts free rein in his word painting.

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While these eight interlinked movements possess an individuality and solidity of musical expression, there is nevertheless an undercurrent of turbulence and restlessness. The interpretation of these canonic sayings can never be straightforward, and their musical settings sound fragile and monumental at the same time: For every moment where musical common sense prevails there is a passage where, Escher-like, the conventions of melody and harmony spiral into a continuum where perspective is distorted.

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While these dispositions clearly affect the sound of each piece, it is remarkable that all eight motets inhabit a world that is empirically choral; in short, there is nothing missing in the sparser movements and nothing overblown in the fuller ones. In Before Abraham was, I AM, the concentration is on unison intervals and the piece grows from chaotic pre-creation sounds to the focused parallel faburden harmony of medieval music.

I AM the Bread of Life takes the interval of the second as its starting point, and the descending Mixolydian scales of the outer sections create a comfortable resonance whose security is rocked by the cross-metrical accents of the central section. I AM the Light of the World presents a neo-medieval texture through its two upper hocketing voices and its cantus-firmus style three lowest voices; by the end of the piece these two textures are completely merged a representation of a very modern understanding of the dual nature of light.

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This two-voice setting continues its concentration on the interval of the fifth whose bold sound becomes a succession of sharp points of light in an already translucent texture. Lush close-harmony provides a verdant bed in which the vine flourishes: The interval of the seventh is the dramatic focus of I am the Door—I am the Good Shepherd in which the solo voice presents these words of Christ as the most intensely personal statement of the set.

The cycle comes full circle with the final movement I AM Alpha and Omega; the opening unisons have expanded to octaves and the ecstatic and expansive writing becomes stratospheric at points. Quotations from each of the earlier motets—most notably their opening and closing moments—are heard both sequentially and simultaneously. Your continued use of the Services following the posting of any amendment, modification or change shall constitute your acceptance thereof.

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am flirt mp3

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am flirt mp3

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I'm a Flirt Remix by R. Kelly feat. T.I. & T-Pain on Amazon Music - jogglerwiki.info

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