Problem is, it was a big, big tune for us.

Eventually the coda sets out the romantic "big tune" before the final pages lead to an unexpectedly bittersweet ending.

The approach is unapologetically focused on big tunes, melody being, the brief booklet notes suggest, "the language of the soul."

When you do finally get the big tune it's glorious, but by god he makes you suffer along the way.

Elgar knew that the audience would love the big tune in the middle of March No. 1, so that march was played second.

The King liked the big tune, and wanted it performed with words at the coronation.

Again there is a big tune in the middle.

But somehow the jittery rhythmic figure leading into the big tune set off heretical notions.

And the big tune had nothing floppy about it but rather held one with an energetic grasp.

That musical muscle was there again in the same composer's Second Symphony, which is big tune practically from beginning to end.