The principles of unity & variety apply to all music, regardless of compositional style or historical period.

Now that you are familiar with the concepts in the first section of the course (Basic Musical Concepts), and you have seen how they work on different pieces of music, try your hand, mouse, and ears at how they operate in a music selection that you may not have heard yet.

Cherry Pink and Apple Blossom White (4:08)

Your analysis should include:

1. The number of different musical ideas you hear in the piece (can we say that there are two ideas A and B? Or is there only one?)
2. The timings (start and stop times) of the different sections of the piece. (Hint: Listen for changes in musical ideas and timbre, or for points when one instrument gives way to another.)
3. How the following elements contribute to unity and variety in the sections you identified (give timings):
   • Dynamics: Where does the music get louder or softer? Is there any apparent reason for those changes?
   • Timbre: Where do different instruments take over the melody?
   • Pitch: What is the general pitch level of the piece? Are there wide variations in pitch level?
4. Although there are sections that feature one instrument over others, do you think this is a piece for a solo performer or for an ensemble?
5. List of the characteristics of the musical style closest to the one this piece exemplifies. (Hint: Revisit the class titled Folk Music, Art Music, and All That Jazz)
6. Do you think this piece serves (or could serve) a specific purpose?
7. Does this piece have any specific connotation(s) for you?

Answer:

Cherry Pink And Apple Blossom White" is a mambo-style Latin-style popular song from 1950. It's not technically a jazz tune, but if you ever perform music for ballroom dancing, you could be asked to play it. It contains a catchy melody and simple chord changes over which you can improvise.

Louiguy's Cherry Pink and Apple Blossom White contains two musical ideas: Idea A and Idea B, both of which represent an uplifting, lively tune with a high pitch. Idea B, in comparison to Idea A, takes a more soothing approach by slowing the song down and lowering the pitch. However, there is a pause between Idea A and Idea B in the middle of the song, which introduces a time window for solos for a few different instruments.

The timings of this piece are as follows:

• Idea A- 0:00-0:18
• Idea A - 0:19-0:34
• Idea B - 0:35-0:49
• Idea A - 0:50-1:00
• Solo - 1:04 - 3:04
• Idea A- 3:03-3:17
• Idea A - 3:18-3:34
• Idea B - 3:35-3:48
• Idea A - 3:49-4:05

Idea A and Idea B, as well as the variation in dynamics and pitch throughout the song, exemplify the composition's unity and variety.

This work opens with extremely loud dynamics and a high pitch, as evidenced by the trumpet's initial few notes, which continue throughout Idea A.  Even though there is a short pause between Idea A and Idea B, the loud dynamics continue in Idea B, even as the pitch falls. The dynamics soften gradually as the pitch drops about minute 1:04, allowing for a smooth transition into a solo. There are soft dynamics in the background with a lower pitch from minute 1:04 to minute 3:04, while other instruments take turns with higher dynamics to emphasize their solos. 

The different instruments working together—especially during the solo part—create a rich contrast that makes the song easier and more fascinating to listen to.

This song is a Spanish mambo, which is a traditional piece of music that incorporates elements of jazz and folk music. However, the obviously improvised solos in the middle of the composition make it sound more like a jazz piece.

It's possible that the goal of this composition is to elicit feelings of happiness and delight in listeners and audiences. Because of the pleasant connotations, this work can be considered an easy listen for casual listeners. This composition conjures up images of a large party with lots of joy and dancing.