On " Surprise Surprise ", Lennon utilises the coda of " Drive My Car " substituting the " beep beep yeah " fadeout with " sweet sweet love ".

The coda incorporates the ' sea storm ' scene, with furious chords and fierce brass instruments suggesting the North Sea at the time of a severe gale.

The song itself could be seen as only lasting approximately 5: 30, after which it segues into a ten-minute coda that incorporates elements from most of the previous nine songs ( For example, the chant from " Keep Your Girlfriend " can be heard ).

Following a full stop, the expositional coda begins which quotes Mozart's insertion aria " Un bacio di mano ", K. 541 and then ends the exposition on a series of fanfares.

Just before the end of the piece, in the coda of the finale, Brahms quotes a passage that really is by Haydn.

The coda quotes Thomas Hastings ’ “ Rock of Ages ” in the cello, ending the movement with Ives ’ characteristic rooting in American folk and popular music.

Bruckner also cites material from his earlier works: at a point near the coda, Bruckner quotes a passage from the first movement of his Seventh Symphony.

The first time, this leads without intermediate modulation to the trio, headed " Maggiore ," in C ; after its return, the coda briefly quotes the C major tune before returning to E minor.

Although he uses the terms interchangeably, remarks that, for example, the final glides of English par and buy differ from French par (' through ') and baille (' tub ') in that, in the latter pair, the approximants appear in the syllable coda, whereas, in the former, they appear in the syllable nucleus.

In AABA forms, the B section is usually referred to as the bridge ; often a brief coda, sometimes based on material from the bridge, was added as in " Over the Rainbow ".

They made an edited version using the best take of the main part of the song ( take eleven ) from 27 January and the ' best coda ' ending from 28 January.

Riley concludes that the song " becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda.

Lorimar hated the idea and it nearly led to Ashby being fired from the picture, but Ashby prevailed and his ending is now regarded as a brilliant mock-allegorical coda.

" According to Merenstein, before he cut it, the coda " was a long, long ending that went nowhere, that just carried on from minute to minute ... If it had relativity to the tune itself, I would have left it there.

In the coda of the account, Abigail doesn't tell Nabal about what she has done until the following day, as, when she returns, Nabal is drunk and high spirited due to a kingly banquet, but when she does tell Nabal he has a heart attack, and dies ten days later ; the coda ends with David hearing about the death, recognizing that it was a punishment from Yahweh, and asking for, and receiving, the hand of Abigail in marriage.

The work ends with a long coda, which uses the material from the first movement.

The chord leads back to G minor ( as from Part I ), followed by Eb major and D major back to a coda from G minor.

The so-called Black Swan Pas de deux from the ballet Swan Lake features the famous coda where the ballerina performs 32 fouettes en tournant.

The famous 32 continuous fouettés in the coda of the " Black Swan " Pas de Deux from Swan Lake are a bravura performance designed to express the strength and triumph of the character.

* Hayakawa is mentioned in the voice-over in the coda of Stevie Wonder's song " Black Man ," from the album Songs in the Key of Life.

* Analysis of the fugal coda from the finale

The climax occurs with a combination of the two melodies presented earlier in the movement followed by a coda which is announced by widely-spaced chords from the piano and violin harmonics.

A passage for solo cello and muted strings cleverly uses this motif along with several other elements, leading into a coda section which ends the work with rousing fanfare-like figures from the brass.

This version of the song, released prior to the main single, and release of " Generation Terrorists ", begins with a sample of Krzysztof Penderecki's " Threnody to the Victims of Hiroshima " and ends with a coda which includes a drum sample from Iggy Pop's " Lust For Life ".

The development is elaborate and mainly based on the first subject of the movement and explores a long harmonic progression ( starting from F major, reaching an Interrupted cadence of C major, and then to G major with a final perfect cadence to f major ); it also refines the juxtaposition and combination of the orchestral instruments ( woodwinds and strings ); the recapitulation is almost coherent with the exposition ; the coda reminisces the motivic work of the development before it closes the movement with strongly repeated chords played by the whole orchestra.

The song's success was due, in large part, to the unique harmonies supplied by Jeff Hanna and Jimmy Ibbotson from the Nitty Gritty Dirt Band, and the beautiful piano introduction and ending coda played by master jazz pianist Jac Murphy, based on Prelude in D-flat, Op.

The coda consists of a push and pull between C major and C minor, with the major key winning, based largely on material from the ballet's ninth number.

The song is composed in the key of C major aside from the coda, which is in C minor, but since the guitars, basses and piano are tuned a half step down, the song sounds as if it's in B major and B minor.

At the final words " non confundar in aeternum " the music violently flares up with two dissonant outbursts answered by the choirs, followed by a despairing orchestral coda, but the work is finally clinched with a murmuring from the choir, which finally confirms the tonality of E major.

This is always CV ( consonant onset with vowel nucleus ), such as ka, ki, etc., or V ( vowel ), such as a, i, etc., with the sole exception of the C grapheme for nasal codas usually romanised as n. This structure had some scholars label the system moraic instead of syllabic, because it requires the combination of two syllabograms to represent a CVC syllable with coda ( i. e. CVn, CVm, CVng ), a CVV syllable with complex nucleus ( i. e. multiple or expressively long vowels ), or a CCV syllable with complex onset ( i. e. including a glide, CyV, CwV ).

Bimoraic syllables are now written with two letters, as in Japanese: diphthongs are written with the help of V or hV glyphs, and the nasal coda is written with the glyph for ŋ, which can form a syllable of its own in Vai.

This obviously would not work well for English, but was done in Mycenean Greek when the root word was two or three syllables long and the syllable coda was a weak consonant such as n or s ( example: χρυσος chrysos written as ku-ru-so ).

For example, the Finale is a combined fugue and sonata form movement: the first theme ( characterized by the downward leap of an octave ) appears in the exposition as a four-part fugue in the strings and the concluding theme of the exposition is presented first as a chorale in the brass, then as a four-part fugue in the development, and culminating in a double fugue with the first theme at the recapitulation ; additionally, the coda combines not only these two themes but also the main theme of the first movement.

* Most of the scherzi of Beethoven's symphonies ( but not of his sonatas ), such as that of his Pastoral Symphony, contain two appearances of the trio, in which the second is sometimes varied and after the second of which the scherzo material often returns much foreshortened by way of a coda.

The coda contains a famous twenty-bar passage consisting of a two bar motif repeated ten times to the background a four octave deep pedal-point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven " fit for a madhouse " after hearing this passage.

The coda has two particularly striking events.

A lengthy coda in B-flat ends the work, the tenth leap and trill rising up the B-flat scale to arrive at two conventional dominant-tonic cadences which sound nevertheless strangely unstable.

The onset ( initial consonant ) is represented by that of the first of the two characters ( 上字 " upper word ", as Chinese was written vertically ); the final ( including the medial glide, the nuclear vowel and the coda ) and the tone are represented by those of the second of the two characters ( 下字, " lower word ").

: coda: Shave and a haircut, two bits

John Paul Jones of Led Zeppelin, on " Good Times Bad Times ", the first song on their first album, uses two bass solos in an influentially dynamic way, as a bridge ( when the band drops out after the choruses ) to the next verse ( after the first chorus ) and the guitar solo-driven coda ( after the third chorus ).

The first movement appears to feature two extremely contrasted ideas in the style of sonata form, one a vigorous leaping figure in D minor, the other a suave melody first stated on solo violin in the remote key of D-flat major, though the working out of the music involves a process of ongoing development within the exposition, and avoids the expected re-capitulation by reversing the order of musical events, with the return of the first idea effectively starting the coda.

It usually consists of an entrée, adagio, two variations ( one for each dancer ), and a coda.

It does not include an intrada, but consists only of an adagio, the two variations, and a coda.

Some languages distinguish a third type, CVVC syllables ( with both a branching nucleus and a coda ) and / or CVCC syllables ( with a coda consisting of two or more consonants ) as superheavy syllables.

The following coda is indeed an orchestral cadenza featuring solos from the two principal violinists ( including Salomon ) and solos from the principal winds as well.

The coda is in two parts — quiet sustained over an F-E pedal with several recurrences of the main theme, gaining intensity and leading to a section — most of a page — in which the violin has running sixteenth notes, the piano mostly chords, until the final harmonies A major-A minor-F major-A minor.

Backed by perfect octave dyads, Stefani sings a verse about her excitement for her future, and the two personalities merge into one during the coda.

Like waves, the two lead into one another until finally the second theme gives way to a gentle coda.

As a result of Winter's law, the distinction between those two series has been indirectly preserved in Proto-Balto-Slavic, because Balto-Slavic vowel would lengthen before a plain voiced stop, but not before an aspirated stop, this occurring probably only if the stop was in syllable coda ( i. e. in closed syllable ).