Evolution Of The Concerto Grosso Music Essay

Evolution Of The Concerto Grosso Music Essay Describe the evolution of the concerto grosso from its origins up to the time of JS Bach and Handel. Include references to specific composers and works. The concerto grosso is an early form of concerto which is distinguishable from other types of concerto by its two groups of instrumentation, the continuo and the repieno. Concerto grosso translates roughly as great concerted performance. Late in the renaissance period composers such as Giovanni Gabrieli were using methods of contrast and opposition in their works, evident in Gabrielis polychoral canzonas, which were so effectively developed in St marks Cathedral, Venice. The use of St Marks many choir lofts brought new timbres and techniques to such composers, which would develop further in the Baroque era. As in the polychoral music of Gabreili, the concerto grosso would set a concertino small group of solo instruments against the ripieno a full string orchestra. Typically there would be a basso continuo which would be a harpsichord or an organ which would add texture to the ripieno and would support the continuo with harmonies. Ritornello form will typically be found in the faster movements of concerto grossi, the ritornello will start, played by the ripieno, the concertino will then join in stating the main theme. The ritornello and concertinos episode will then alternate with the main theme being reintroduced shortened, altered or in full. TUTTI SOLO TUTTI SOLO TUTTI RITORNELLO CONCERTINO RITORNELLO CONCERTINO RITORNELLO This pattern would happen many times and in different keys, but the main theme wouldve been likely to be repeated in full, and in the tonic key, only at the end. Although this form looks to be quite clear cut, there were many variants, composers such as Corelli, Handel and Vivaldi experimented with the form. The origins of the concerto grosso can be found around 1675, one of the first concerti grossi is by Alessandro Stradella (1642-82), but some of the more celebrated early works are the twelve concerti grossi of Corellis opus six. These works of Corelli seem to have been key in the emergence the concerto grosso. Written in 4, 5 or even six movements and alternating between fast and slow, Corelli based his musical ideas on dances of the baroque period like the allemande, the courante and the gigue. In these compositions Corelli had started to define a strong contrast between soli and tutti, which may have developed from his church sonatas. The development of the orchestra during this period had an effect on the evolving concerto grosso. The relatively new violin family had replaced that of the viols and players were becoming specialists, giving composers more flexibility when writing. Whilst there was no standardisation of the baroque orchestra, it would consist predominately of stringed instruments of the violin family which would double on parts as the colour of timbre was quite limited. The three keyboard instruments of the time, the clavichord, the organ and the harpsichord all benefited from the now commonplace tempered tuning technique. This era started to see virtuosic performers arise in musical schools, mainly in Italy. For example, in the church of San Petronio, Bologna, there was a regular group of performers who became accomplished in there fields, but when the occasion suited ensembles were increased in size by the use of more modestly talented instrumentalists. This created a different standard of difficu lty between the concertino solo passages and the fuller repieno episodes. One of the most notable figures in the Bologna School was Giuseppe Torelli (1658 1709), Torelli contributed a lot to the development of the concerto grosso. It was he who settled on a three movement, fast slow fast structure. In his opus eight concerti, he has developed a distinctive style with a very clear use of the ritornello form in his allegro movements. It is here in the time of Torelli that the markings of a typical concerto grosso start to emerge with its allegro adagio allegro structure, the strong and strict use of ritornello form and then the use of more virtuoso writing for the continuo instruments. With this three movement structure becoming almost standard it is by the works of Antonio Vivaldi that it becomes established. Vivaldi shows a development of melody and rhythm, writing in distinct form which had grown to be expected of a baroque concerto, but at the same time he enhanced the writing of solo lines in a way seen previously by Torelli and Albinoni. Vivaldi started to introduce wind instruments such as flutes, bassoons and horns to the orchestra and sometimes to the continuo, which, in turn led to a more colourful demonstration of timbre. The adagio movement became just as important to Vivaldi as the allegro movements, gaining equal importance; this is something which other composers such as Johannes Sebastian Bach took into their works. Around 1720, Johannes Sebastian Bach wrote a set of six concerti of which three were concerto grosso, numbers 2, 4 and 5. Bach was influenced by the works of Corelli, Albinoni and Vivaldi but started to create more complex texture with counterpoint and sonority. Although developing the style of writing, he largely conformed to the structure set before him. George Fredric Handel (1685 1759) differed here, whilst still writing with the newer, more complex techniques his concerti grossi were more in keeping on a structure basis with those of Corelli. In his concerti he uses more movements and relates them to the baroque dances, for example, opus six, concerto grosso no six. Within this work there is an opening larghetto e affettuoso, a fugal allegro, a pastoral in the form of a musette en rondeau and a minuet like allegro. The concerti of Handel show diversity and variety, which may be due to the fact he was more travelled than other composers of his time. It was during the period of Vivaldi, Bach and Handel that the concerto grosso was to become less popular amongst composers, the writing of virtuoso lines leant itself better to the solo concerto, although the term concerto grosso has still been used in the 20th century by composers such as Bloch and Vaughn Williams. Word Count 992 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 2 Discuss the variety of instrumentation in Bachs Brandenburg Concertos. Johannes Sebastian Bach used an extremely varied combination of instruments in his set of Brandenburg Concertos. For the period, late baroque, it was almost experimental, leaving no stone unturned as he searched for the sonority to compliment his distinctive counterpoint. Because the instrumentation is so varied I will describe each of the concertos separate scoring before discussing the many combinations and instruments. Brandenburg Concerto No. 1 in F major Instrumentation Concertino Two Corni da Caccia (Natural Horn), Three Oboes, Bassoon and a Violino Piccolo (Small Violin). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 2 in F major (Concerto Grosso) Instrumentation Concertino Tromba (Trumpet), Recorder, Oboe, Violin Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 3 in G major Instrumentation Concertino Three Violins, Three Violas and Three cellos (split into three groups of equal instrumentation). Ripieno Basso Continuo (Harpsichord). Brandenburg Concerto No. 4 in G major (Concerto Grosso) Instrumentation Concertino -Violin and Two Flauti decho (Recorder). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 5 in D major (Concerto grosso) Instrumentation Concertino Harpsichord, Violin and Flute. Ripieno Violin, Viola, Cello and Violone. Brandenburg Concerto No. 6 in B flat major Instrumentation Concertino Two Violas and a Cello. Ripieno Two Viola da Gamba (In unison), a Cello, a Violone and Basso Continuo. There are many things which strike you about Bachs instrumentation when you see it classified in this way. Firstly, for the period, it seems to be quite experimental and certainly in Concerto No. 6, the use of the Viola da Gamba, a somewhat dated instrument of the time, could suggest Bach was searching hard for exactly the texture he wanted, or that in fact Concerto No. 6 predates the other five and is not as the date on the presentation score. This concerto also displays a lack of treble instrumentation, creating a much darker timbre. Also on show is Bachs exposition of wind ensemble, Concertos No. 1 and No. 2 display wind groups as the concertino, adding a real sense of colour and texture to the works. The Harpsichord makes an appearance as the soloist in Concerto No. 5, showing a reluctance to conform to the standard practise of keeping the keyboard instrument in the continuo. Amongst the scoring of the Brandenburg concertos are some Instruments which may be unfamiliar to todays audience. In Concerto No. 1, the only brass instruments are the two Corno da Caccia. Now this is not the Horn that we know today, but would have been a small, natural, valve less horn, not to dissimilar to a hunting horn. This instrument allowed Bach to write the same virtuosity as for a trumpet, but would have given slightly less edge to the sound. The Flauti Decho of the fourth concerto stirs up a lot of debate as to exactly what instrument Bach actually meant. Malcom Boyd, in his book Bach, The Brandenburg Concertos discuss the possibility of the Flauti of the second concerto, the recorder, being the same instrument as the Flauti Decho and in fact not a different version at all. This is a matter that many academics are yet to agree on. The Violin Piccolo is scored in the first concerto amongst the concertino, this instrument, as the name would suggest, is a smaller version of the violin we know today. The violin piccolo is recorded as being pitched either a minor third, or a fourth above the concert violin, but as Malcom Boyd writes in his book It is doubtful whether one can really speak about the violin piccolo as one might about the violin or the viola. Concerto No. 6 gives us the Viola de Gamba, An older instrument, the viola de gamba is a member of the viol family, a six string instrument played with a bow and held between the legs, equivalent to todays double bass. Also required in each one of the six concertos is a violone, this would have been similar to the viola de gamba, a bass like instrument used in the basso continuo. Bachs treatment of concertino and ripieno differs somewhat to that of other concerto composers such as Vivaldi, as he treats the concertino as not just a solo group but likes to bring different instruments to the fore, and create unusual pairings of different instruments. As referred to in The Cambridge Music Guide, in concerto No. 2 the solo instruments are paired in every combination, this makes me wonder if there was also some mathematical logic behind this sort of scoring. Every soloists performs on there own and with the group, and lines are passed seamlessly around the ensemble. Throughout the Brandenburg Concertos, Bach uses the instrumentation to such effect, that there are so many colours and textures on display. However, with the ambiguity of what some of the instruments were it is impossible to recreate the colour and texture that Bach himself was looking for. Word count = 826 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 3 Give a detailed analysis of the first movement of Brandenburg Concerto no. 2 in F major. Include a brief background to this work. It is widely believed that much of the music that Bach wrote during his years as the Kapellmeister in Cothen has been lost, fortunately amongst the surviving works are the celebrated scores of the Brandenburg Concertos. Due to the complex contrapuntal nature of the six instrumental works, they could possibly be classed as chamber works rather than orchestral works. All six concertos are written for differing musical combinations, combinations which show a desire to create new sounds but also celebrate sounds of the period. These six concertos were dedicated in a presentation score to Christian Ludwig, The Margrave of Brandenburg, with the year 1721 as the year on the manuscript. It was whilst on a trip to Berlin during the year of 1719 that Bach met the Margrave, Bachs musicianship as a performer had interested the Margrave so much that he invited Bach to write him some compositions for his extensive library. It was two years later that Bach obliged the offer of the Margrave, sending him the scores to what are now known as The Brandenburg Concertos. This gesture by Bach is widely suggested amongst scholars of the musical world to be Bachs way of submitting his CV, in the hope of earning a job in the court of Christian Ludwig, a job which never materialised. The now labelled Brandenburg Concertos are amongst Bachs most celebrated works, performers, composers and academics regard them as some of the finest musical output of the baroque era. This idea of writing for various combinations of instruments was a new concept in Germany; Bach however had studied the published works of composers such as Antonio Vivaldi, and wrote closely to the Italian style with the use of a clear ritornello form. With the six concertos having mainly a three movement structure of quick slow quick, as per the concertos of Bachs Italian counterparts, it is the varied instrumentation that sets these works apart. Brandenburg concerto No.2 could be said to be one of the more colourful concertos of the set. Written in F major and scored for a concertino of trumpet, recorder, oboe and violin, supported in tutti sections by the typical ripieno section of strings and continuo (commonly a Harpsichord). It is the wind ensemble that delivers the richness of sound yet has the sensitivity to explore the fine counterpoint which so effortlessly flows through the parts. The set of six concertos are some of Bachs most famous works and I now aim to deliver a detailed analysis of the first movement of his Brandenburg Concerto No 2. in F major. Bachs Brandenburg concerto no 2 was written in three movements as follows: Allegro Andante Allegro assai The concerto is written in the key of F major and conforms to the style considered a Concerto Grosso. The composition uses the following instrumentation: Strings, Trumpet, Flute (originally a recorder), Oboe with strings and basso continuo (commonly a Harpsichord). The continuo is never omitted from the movement as it provides the harmonic foundation of the whole movement. This first movement of Bachs Brandenburg Concerto No 2 is written in ritornello form as is his Brandenburg concerto No 5. Example 1 below shows the opening eight bars which I consider to be the ritornello theme, in the tonic key of F major it is written for all instruments throughout the movement. Example 1 Bars 1-8. This ritornello theme is never repeated in full and can be broken down into 6 smaller motifs, shown below in Example 2, as the movement evolves these motifs are introduced at different points. Example 2 The solo subjects can also be split down into their own theme being called S1 and a countersubject called S2. These two lines are shown below in Example 3. This Solo line could be considered as a second ritornello as it is a recurring theme which can be heard to a total of eight times throughout the movement. Interestingly, this theme is only scored to be played by the concertino, unlike the main ritornello theme which passes through the solo and ripieno instruments. As we will see throughout this analysis a large percentage of the melodic material written is manufactured from the two themes that I am calling S1 and S2. Example 3 On completion of the ritornello theme the concertino violin plays a solo (S1) for 2 bars and then it returns back to the ritornello (R1) theme for the following 2 bars. This solo is accompanied by just the cello and is then joined by all the ensemble instruments to play the ritornello theme as in the opening. Bar 13 has the oboe playing a solo (S1) for 2 bars with the violin playing the solo counter subject (S2) once again accompanied by the cello. There is then a modulation for the first time into the dominant key of C Major for 2 bars of the ritornello (R1) theme. This sequence then continues until bar 23, with the flute and then the trumpet each playing solos (S1) for 2 bars with oboe, whilst the flute then plays the solo counter subject (S2). In Bar 23 it is back to the ritornello theme for 6 bars but this time it is with the introduction of the R4, R5 and R6 motifs in the dominant key. The movement then modulates to B flat major (the sub-dominant) and the trumpet plays a small s olo (S1) for 2 bars. This solo is not accompanied by the normal counter subject (S2) as heard previously, but the violin continues to play a semi-quaver rhythm which is leading us on to different ideas. This solo is also harmonised with the other concertino instruments and the cello of the ripieno, Bach is gradually building the instrumentation of the solo lines in comparison to what was heard at the beginning of the movement. At bar 31 the ritornello theme (R1) begins to move the music in the direction of the key of D minor, this is done using a cycle of fifths, the chords are as follows; D Minor G Minor Cdom7 Fmaj7 Bbmaj7 E Minor Adom7 D Minor. The texture within this cycle of fifths becomes very thick and extremely complex, with the flute and cello playing together in thirds at bars 33-35. The solo violin can be heard playing a pulsating and energetic chordal harmony figure in a virtuosic style whilst the trumpet and the oboe are pigeon stepping from the end of bar 32 until bar 35 (See example 4). This pigeon stepping technique is also written in the viola and violone from bar 33 until bar 35(See example 5). These ideas are used to give a sense of direction and it also helps to disguise the circle of fifths, stopping the idea from becoming a simple clichà ©. Example 4 Bars 32 35. Example 5 Bars 33 35. This cycle of fifths leads the music back to the ritornello theme (R1) at bar 40 for two bars in D Minor and then it begins to travel back to the tonic key, through another cycle of fifths; D Minor G Minor C Major F Major. Throughout this cycle of fifths the ritornello theme (R1) can be heard to pass through the trumpet, flute and lastly the oboe lasting for two bars in each line. Whilst this ritornello theme is passing around the concertino instruments the other solo lines are accompanying it with a fluid semi-quaver rhythm, with the trumpet and then the flute moving in contrary motion against the oboe and violin. There continues to be heard the ritornello theme from bar 46 in the tonic key but it is abruptly interrupted at bar 50 owing to the fact that if the theme was to be heard again here in full, in the tonic key, then you could expect that movement would have had to finish at this point. Bar 46 sees the continuo and cello take over the fluid semiquaver rhythm which seems to be in support of the solo violin this however only lasts for 2 bars until the reintroduction of this figure in the flute and oboe, along with Violin 1 of the ripieno. It is at this point (Bar 50) we can see that Bach begins to introduce a V-I rising sequence with a very strong 7th feel to each of the chords. Beginning with the chord of F7 at bar 50 moving to D7 (V) at bar 51 G7 (I) at bar 52 E7 (V) at bar 53 Amin7 (I) at bar 54 F7 (V) at bar 55 Bb7 (I) at bar 56. This rising sequence starts to move the music away from the tonic key so as not to give the feeling that the movement is coming to the end. This time, however, the ritornello theme R5 is heard to be played in this sequence by the Violin, Oboe, Flute, Violin again Oboe again and then lastly the Trumpet, each for 1 bar at a time. Whilst this theme is being passed seamlessly through the concertino the underlying moving semi-quaver idea is also being passed through the concertino instruments, cleverly intertwining with the ritornello theme R5. Bar 56 sees the continuo and Cello now playing the theme R5 with the Trumpet decorating it in the treble. The end of this section is announced wi th the introduction of the ritornello theme R6 which is an ending theme. At the introduction of this ending theme, R6, we are in the key of B flat (sub-dominant) for 4 bars and a reversion back to the now seemingly solitary solo (S1) and counter subject solo (S2), from the flute and Violin respectively, with just the continuo adding a simple harmonic accompaniment the music can then be heard to modulate to G minor at bar 62 for two bars, with the solo lines reversing and the Violin playing the Solo (S1) and the Flute playing the counter subject (S2). The Oboe then takes over this Solo line (S1) with the violin playing the counter subject (S2) but there is a modulation once again, this time to E flat major, at this point Bach begins building the harmony and texture again, introducing the flute playing an interrupted quaver rhythm. For the final time in this sequence the music modulates once again to C minor, with the Trumpet playing the Solo Line (S1) and the Oboe playing the counter subject (S2).There is a definite feeling of rebuilding of the texture her e again as the flute and solo violin, playing the interrupted quaver rhythm, are heard together at bar 66. All throughout this, from bar 60, it has remained a simple accompaniment from just the continuo with the tutti strings tacet. This idea is the same as in bars 9 23 but without the fragments of the Ritornello theme. Again can be heard the ritornello theme from bar 68, still in the key of C Minor (dominant minor), however, this is soon interrupted by a rising sequence of V I at bar 72. This time it begins with C Minor (V) at bar 72, moving to F major 7 (I) at bar 73. Bar 74 is in D major 7 (V) leading us back to the ritornello theme at bar 75 in G Minor (I). This rising V-I section once again uses the idea of passing the ritornello theme R6 around the concertino instruments, with the fluid semi-quaver movement flowing effortlessly through the solo lines. This ritornello theme modulates to G minor using another cycle of fifths, the chords it uses are as follows; G minor C minor 7 F 7 B flat major 7 E major A minor 7 D major G Minor. In bar 72 there ios a very subtle use of syncopation in the tutti violin part which seems to bind the ripieno ensemble. Bach again uses the pigeon stepping device, but this time it is heard in the trumpet and the oboe from the end of bar 76 up until bar 79. There is also another example of the pigeon stepping in the viola and continuo from bar 77 until bar 79 along with the Cello and Violin playing in 3rds. This again has disguised the circle of fifths and made the texture very rich and extremely complex. In bar 86 I get a very definite feeling that the movement is heading to its climax, the long sustained chords, lasting up until bar 93, within the violins and the viola of the ripieno are something new, seeming to create a different texture and binding to the intricate figures of the concertino and the harmony of the continuo. Bar 94 sees another return of the ritornello theme in A minor, however this time it is introduced by the flute and the violin for two beats, and then the trumpet and oboe join in with an echo effect, maybe a hint of Bachs fugal ideas. This ritornello theme is extremely short lived as once again there is more use the cycle of fifths from bar 96, D minor G7 C Major F Major B minor7 E Major 7 A minor. Heard again is the same idea as previously heard with the Flute and Violin pigeon stepping from bars 95 99, this pigeon stepping is also displayed in the Viola and Violone whilst the Oboe and Cello play the fluid semi-quavers in 3rds. The music stays in the key of A minor for 3 bars and the final ritornello theme is stated, in unison and in octaves, back in the tonic key of F major. This is a sudden change back to the tonic key with the whole ensemble having a quaver rest before. This idea is a stylistic/form aspect from another type of composition the da capo aria. It is with this sudden change back to the tonic and with the ensemble playing in unison that you are tricked into thinking its the end of the movement, but Bach leads off again with another rising V-I Sequence. Beginning this V-I sequence in F Major (V) moving to B flat major 7 (I) at bar 107. Bar 108 moves to G dominant 7 th (V) and leads onto C dominant 7th (I) at bar 109. A dominant 7th (V) begins bar 110 resolving to D dominant 7th (I) at bar 111, and then to finish the sequence it is a diminished 7th on B leading in to C major. This diminished 7th on B natural strengthens the return back to the tonic F major. The rising V I section uses the idea which is previously heard of weaving the ritornello theme R5 through the concertino instruments. Heard then is the ritornello theme R5 played by the Violone and Cello at bar 113. Bar 115 sees the music return to the tonic key of F major and the ritornello theme is stated for the very last time, however, Bach does not write the ritornello theme in full as you would expect with ritornello form, it is left to ritornello theme R5 for 2 bars and then the ending theme R6 to finish the movement. Although this movement can be recognised as being in ritornello form It has become clear during my analysis, that it is very hard to distinguish between the solos and ritornello theme. This is because Bach has used material from the original ritornello theme throughout the whole of this movement and integrated them so seamlessly and subtly into the solo passages. Word count = 2,576

Essay --

        Chemistry is vitally important in our understanding physiology. The molecule of my choice for this final exam is Carbohydrates. Carbohydrates are originated as the outcome of photosynthesis, the condensation of carbon dioxide that requires light energy and chlorophyll pigment. Carbohydrates are a huge source of something called metabolic energy, which can be found in plants which help feed our animals.   Carbohydrates are found in sugars and starches but they have another purpose which is called cellulose which helps transport the compound ATP. Carbs are called saccharides and if they are considered sugars. The complexity of carbohydrates which are monosaccharides and complex carbs which consist of polysaccharides disaccharides and oligosaccharides. Carbohydrates represent the main source of energy for the human body. All carbs can be broken down into sugars and absorbed into our intestines and blood stream. Your body uses the glucose formed as fuel for energy. Different carbs digest and break down at different rates. When our blood sugar levels increase our pancreas pumps insulin into our blood stream. Simple carbs turn into glucose faster where complex carbs slowly turn into glucose. The foods we eat that contain carbohydrates cause our blood sugar levels to increase, transporter proteins push the glucose into our muscles, liver cells and fat where our bodies store or end up using the glucose. The cells in our bodies can’t directly use the glucose, so it has to be converted into molecules that cells then use as an energy source. One of the most important molecule for energy storing is the adenosine triphosphate known as ATP. When our cells contain oxygen it can then turn glucose into the ATP molecules using some chemical rea... ...gy from. Without carbs your body cant store fat, that is why people end up going on no carb diets. Throughout the process of glycolysis glucose is converted into carbon dioxide and water, making a big quantity of ATP which is what makes energy. Glycogen is found in animals liver as an emergency energy supply. The sugars that basis the structures of DNA and RNA are ribose and deoxyribose which are other important carbohydrates. When we drink milk the carbohydrate is lactose formed from glucose and galactose. Some ways our bodies can get carbohydrates can be found in whole grains, vegetables and dry beans, sugars from fruits and natural foods are a healthy carbohydrate that our body processes fast. The bad carbohydrates we consume such as processed foods and empty calorie foods cause glucose to process slowly in our bodies.

Basic Essay Essay

Introduction This forms the beginning of your essay. It tells the examiner, or your teacher, that you understand the question and gives them an idea of the plan that you have to answer the essay. Give a very brief summary of the text or a definition, if necessary. Answer the question that was asked, without any details or explanation. These answers will become your topic sentence / points in the upcoming paragraphs. your introduction does not need to be more than five lines in length. Body This portion of the essay is an expansion of the points, or the answer, that you gave in your introduction. Each segment of the essay, hence each point, should be given its own paragraph. This is the case because your aim is to express a single idea in one paragraph. State your topic sentence, or one of the points listed in your introduction. Provide at least two appropriate examples, from the text, to prove your point (these can come in the form of quotes, in relation to Shakespeare, or simply a brief retelling of the action). Expand by discussing how the previous examples prove your point, or solidifies your topic sentence. Repeat this process for each point, or topic sentence. Conclusion This is the end of your essay. It prevents your essay from ending abruptly and gives it a feeling of completion. A repetition of the points, or topic sentences, expressed in the body End of essay! EXAMPLE: (Single Text) The book Twilight is about complicated love. a. Discuss one sign, each, that indicates that the two protagonists are in love with each other. b. In your opinion, should Edward have left Bella alone? Introduction Complex love is a complicated relationship between two people. In the text Twilight, Isabella Swan and Edward Cullen share an intricate interconnection that is exhausting, yet fulfilling. Bella obviously loves Edward because she was willing to become a vampire in order to spend all her days with him, while Edward displayed an extreme level of protectiveness towards Bella. Despite this fact, he should have left her alone. Body: point # 1 There is no question that Bella was deeply in love with Edward. This is the case because she was willing to become a vampire in order to spend her life with him. In doing this, she would have to sacrifice life as she knows it. She would have to give up her humanity, her family and friends; her way of life. For some-one to make this choice they would need to be deeply mesmerized by the person. Body: point # 2 Edward’s protectiveness towards Bella also indicates that he too was in love. An example of this over-protectiveness is the fact that he did not drink her blood. In denying his voracious need, as seen when he states that â€Å"you are like my personal brand of heroine†, he is making a major sacrifice. He is fighting his ‘vampire nature’ in order to ensure that she was safe. This can be nothing but love. Body: point #3 Despite the overwhelming love between the two characters, Edward should have left Bella alone. This is the case because he is endangering her life by his mere presence. The major point to prove this fact is that she was hunted by vampires because she was in his company. She was perfectly safe without him in her life, therefore, he should have stayed out of it. Conclusion Based on an analysis of the relationship between Bella and Edward, one could conclude that both characters were deeply in love. This does not, however, excuse the fact that he should have left her alone. [This essay is a class construction: grade 10, 2011] b) COMPARATIVE ESSAY (two texts, poems or short stories) The format for this essay does not differ greatly from the basic essay. It is comprised of an introduction, body and conclusion, with a similar format. The difference is that while you are still answering one question, you are using two texts / short stories / poems to do so. Therefore, your approach to the body of this essay would be slightly different: Your topic sentence, or point, would relate to two texts / poems / short stories. Your examples would come from two texts etc. You would attempt to explain how the examples from each text etc. explains the point, or topic sentence.   The physical structure of your comparative essay, therefore, can look one of two ways. (i) You can choose to address two texts in a single paragraph, with the topic sentence as the connector, or, (ii) you can choose to address the texts in separate paragraphs that follow each other (meaning one below the other). Please note that the paragraphs must follow each other because they are connected by the same topic sentence. (i) Single paragraph INTRODUCTION Give a very brief summary of the texts or a definition, if necessary. Answer the question that was asked, (without any details or explanation), using both texts. These answers will become your topic sentence / points in the upcoming paragraphs. Due to the fact that two texts will be used, the introduction for this essay might be lengthier than the single essay. Think along the lines of 6-8 lines in length. BODY State your topic sentence, or one of the points listed in your introduction (must relate to both texts). Provide at least one appropriate example, from each text, to prove your point (these can come in the form of quotes, in relation to Shakespeare, or simply a brief retelling of the action). Expand by discussing how the previous examples, from each text, proves your point, or solidifies your topic sentence. Repeat this process for each point, or topic sentence. CONCLUSION A repetition of the points, or topic sentences, expressed in the body End of essay! (ii) Separate paragraphs INTRODUCTION Give a very brief summary of the texts or a definition, if necessary. Answer the question that was asked, (without any details or explanation), using both books/poems/short story. These answers will become your topic sentence / points in the upcoming paragraphs. Due to the fact that two texts/poems/short stories will be used, the introduction for this essay might be lengthier than the single essay. Think along the lines of 6-8 lines in length. BODY State your topic sentence, or one of the points listed in your introduction (relate to one text). Provide at least two appropriate examples to prove your point from one text (these can come in the form of quotes, in relation to Shakespeare, or simply a brief retelling of the action). Expand by discussing how the previous examples prove your point, or solidifies your topic sentence. Repeat this process in the following paragraph for the next text. Please remember that both texts are, at this point, still exploring the same topic sentence. The analysis of one topic sentence, therefore, occurs in two paragraphs. Each text gets a separate paragraph, and they follow each other. Remember, twins cannot be separated! CONCLUSION A repetition of the points, or topic sentences, expressed in the body End of essay! Rules for the comparative essay: The important point to note is that wherever one text / short story / poem is mentioned, the twin text etc. must immediately be addressed as well. Under no circumstance must you write completely on one text etc, and then address the twin text etc. four paragraphs after. If this is done, it means that you have written two separate essays. If you have three paragraphs for your body, then the two texts etc., must be mentioned simultaneously in each paragraph. Please note that the points from the separate texts etc. can be addressed in different paragraphs, but they must follow each other if they are addressing the same point. Think of the comparative essay as your twin children; it is impossible to go anywhere without both of them. Therefore, do not complete a point without linking your thoughts to the two texts etc. that are to be addressed.

Admissions Applications and the Parent Questionnaire

One aspect of the private school admission process is the completion of a formal  application, which includes both a student and a parent questionnaire. Many parents spend hours going over the student portion with their children, but the parent application needs ample attention, as well. This piece of information is a crucial part of the application, and is something that admission committees read  carefully. Heres what you need to know: The Purpose of the Parent Questionnaire This document may also be  known as the Parent Statement. The rationale for this series of questions is to have you, the parent or guardian, answer questions about your child. There is the understanding that you know your child better than any teacher or counselor, so your thoughts matter. Your answers should help the admissions staff get to know your child better. However, its important to be realistic about your child and remember that every child has both strengths and areas in which he or she can improve.   Answer the Questions Truthfully Dont paint a picture-perfect vision of your child. It important to be genuine and authentic. Some of the questions can be personal and probing. Be careful not to distort or avoid the facts. For example, when the school asks you to describe your childs character and personality, you need to do so succinctly yet honestly. If your child has been expelled or failed a year, you must address the issue forthrightly and honestly. The same goes for information related to educational accommodations, learning challenges, and emotional or physical challenges your child may experience. Just because you disclose information that may not be a glowing positive, doesnt mean that your child isnt a good fit for the school. At the same time, full explaining  the needs of your child can help the school to assess if they can provide the necessary accommodations to ensure success. The last thing you want to do is send your child to a school that cant meet your childs needs.   Make a Rough Draft of Your Answers Always print out a copy of the questionnaire or copy the questions into a document on your computer. Use this secondary place to write a rough draft of your answers to each question. Edit for coherence and clarity. Then put the document aside for twenty-four hours.  Look at it again a day or so later. Ask yourself how your answers will be interpreted by the admissions staff who do not know your child as you do. Have a trusted adviser or, if you have hired one, your educational consultant, review your answers. Then input your answers into the online portal (most schools require online applications these days) and submit along with the other documents. Write Your Own Answers Do not underestimate the importance of the Parent Questionnaire. Something that you may say in your answers could  resonate with the admissions staff and make them feel a connection to you and your family. Your answers might even tip the scale in your childs favor and help the school understand how they can play a primary role in your childs education, helping him or her succeed and achieve their best, both during the years attending the school and beyond. Take plenty of time to craft thoughtful, considered answers that accurately reflect you and your child. Do not have an assistant answer these questions for you. Even if you are a very busy CEO or a  single parent working full time and juggling multiple children, this one document is extremely important; make time to complete it. This is your childs future at stake. Things are not like they used to be decades ago when perhaps the mere fact that you were an important person would suffice to get your child admitted. The same is true for consultants. If you are working with a consultant, it is still important that your questionnaire, and your childs portion of the application (if he or she is old enough to complete one) should be genuine and from you. Most consultants would not write the responses for you, and you should question your consultant if he or she suggests this practice. The school will want to see evidence that you personally have tended to this questionnaire. It is one more indication to the school that you are a committed and involved partner with the school in your childs education. Many schools highly value the partnership with parents and family members, and investing your time in the parent questionnaire can show that youre dedicated to supporting your child and that you will be an involved parent.   Article edited by  Stacy Jagodowski