toonides. Järgmiseks oli Aengus kirakowski kord, kelle esimeseks valikuks oli Johann Sebastian Bach'i Tsellosüdisdist BWV 1010 Sarabande ja Gigue. Eelmise esinejaga võrreldes oli selle mehe kitarr kõvasti võimsama kõlaga. Lugu oli suhteliselt aeglane, aga selle eest mängis ta väga hästi välja kõik akordid. Mäng oli väga vahelduva tempoga, aeglane tempo oli kõvasti ülekaalus. Teiseks valikuks jäi Maurice Ohana Craphique de la Farruca et Cadences. Teine meloodia oli kiirem , tempokam ja koos klaveriga. Nende mõlema mäng oli väga jõuline, hiljem jäi mulje, et läks rohkem lõhkumiseks üle, aga läks malbelt edasi, sees olid väga madalad ja sünged toonid. Isiklikult jäi mulje nagu räägiks lugu kasvavast vihast mis lõpuks vabaneb, kuid laulu jõulisus säilib. Kolmas härrasmees oli Siim Kartau, repertuaari kuulus Federico Moreno Torroba: Kastiilia süit- Fandango, Arada, Danza
such ridiculous notions. But what, then? I asked myself. There was no rational explanation for how I was alive at this moment. I listed again in my head the things I'd observed myself: the impossible speed and strength, the eye color shifting from black to gold and back again, the inhuman beauty, the pale, frigid skin. And more -- small things that registered slowly -- how they never seemed to eat, the disturbing grace with which they moved. And the way be sometimes spoke, with unfamiliar cadences and phrases that better fit the style of a turn-of-the- century novel than that of a twenty-first-century classroom. He had skipped class the day we'd done blood typing. He hadn't said no to the beach trip till he heard where we were going. He seemed to know what everyone around him was thinking... except me. He had told me he was the villain, dangerous... Could the Cullens be vampires? Well, they were something. Something outside the possibility of rational justification was taking place in
variants) but it may also fully transform the characters of the themes. The modes are often Mixolydian and Dorian: also display of pentatonic scales, harmonic major key, natural minor and their peculiar modes. Themes and images may be exposed as polytonal. The same theme is displayed in a hetero-phonic manner or different themes combine even in different keys to accentuate the intensity of development. In harmony the subdominant sphere is accentuated, cadences (if they occur) are overwhelmingly plagal; the fourth connections are widely met both in tonal and atonal harmony. This adds crispness and sobriety to the sound. Rhythms and metrics are often taken from folk music; as a result, in connection with all means of expression, a genre aspect: a festival, an entertainment, a play or pastoral scene, a funeral procession may be displayed. 2 ‘New winds in Estonian music’ Finnish Musical Quarterly 4 (1998): 31-35.
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