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Wolfgang Amadeus Mozart's Piano Sonata No. 4 in E-flat major, K. 282 / 189g, is a sonata in three movements: Adagio Menuetto I–II (Menuetto I is in B ♭ major , but Menuetto II is in E ♭ major, then returns to Menuetto I)
E-flat major was the second-flattest key Mozart used in his music. For him, E-flat major was associated with Freemasonry; "E-flat evoked stateliness and an almost religious character." [4] Edward Elgar wrote his Variation IX "Nimrod" from the Enigma Variations in E-flat major. Its strong, yet vulnerable character has led the piece to become a ...
The first phrase of this concerto begins ambiguously. A unison E ♭ followed by a C, then a G, is followed by the dominant chord's leading tone (A ♮) trilled up to the dominant, B ♭. This progression seems to suggest a dominant cadence in the dominant key of B ♭. In other words, C minor to F to B ♭ (ii – V – I in B ♭).
It is notable for its use of piano chords deep in the bass register, influenced by the sonorous English pianos Haydn came to appreciate while in London. [2] The short and cheerful second movement (in sharp contrast to the first) has the scheme A–B–A–Coda. Unusually, the violin takes a more important role than the piano.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
Piano Sonata in E-flat (Bax) Piano Sonata in E-flat major, D 568 (Schubert) Piano Sonata No. 2 (Kabalevsky) Piano Sonata No. 4 (Beethoven) Piano Sonata No. 4 (Mozart) Piano Sonata No. 13 (Beethoven) Piano Sonata No. 18 (Beethoven) Piano Sonata No. 18 (Dussek) Piano Sonata No. 26 (Beethoven) Three Piano Sonatas, WoO 47 (Beethoven) Piano Trio No ...
The labelling of the piano part shows a correction by Mozart where he started to write "Ce" (for "cembalo", the Italian word for the harpsichord) and then replaced it with "Piano forte". However, this part is labelled "Cembalo" for the second and third movements. The key signature of E ♭ major in Mozart's late chamber music indicates close ...
Despite forays into twelve-tone technique, and its chromaticism and dissonance, the sonata is based on a key center, that of E-flat minor. [22] Some of the twelve-tone melodic patterns resemble examples from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns, a book that was reportedly on Barber's piano while he was composing the sonata.
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related to: conscience dreaming chords key of e flat piano part 4