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An arpeggio (Italian: [arˈpeddʒo]) is a type of broken chord in which the notes that compose a chord are individually sounded in a progressive rising or descending order. Arpeggios on keyboard instruments may be called rolled chords .
Equivalent patterns in 4 4 and 3 4 [1] Play 4 4 ⓘ and Play 3 4 ⓘ Alberti bass patterns on V 7 Alberti bass in the opening of Thomas Attwood's (1765–1838) Sonatina in G Major [2] Play ⓘ Alberti bass in the opening of Muzio Clementi's Sonatina in G, Op. 36, No. 2 (1797) [3] Play ⓘ The opening of the 5th of Beethoven's Seven Variations on "God Save the King" WoO 78 (1804) introduces ...
IV-V-I-VI chord progression in C major: 4: Major I–V–vi–IV: I–V–vi–IV chord progression in C: 4: Major I–IV ... 5–6 sequence: I–V ...
A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in "locked-hands" [1] rhythmic unison with the melody, as opposed to broken chords. This latter style, known as shearing voicing, was popularized by George Shearing, but originated with Phil Moore. [1]
In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance.During the common practice period (between about 1600 and 1900), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the root of the chord appears in parts higher than the fifth of the chord).
The theme of the first movement is not especially melodic. Rather, it sets out to explore the key of E major using two types of contrast: chords vs. arpeggios and scales, and legato vs. staccato. After the opening E major chord, there is an ascending, legato arpeggio, which is met by a fast, downward scale, marked staccato. This pattern is ...
The prelude is in common time and is composed of 20 bars, which are split into 2 periods of 10 bars each. The first period has a toccata-style melody which uses demisemiquaver (32nd note) broken chords and scale passages. In the first two bars, it uses a four-note sequence which drops by a third every half-bar.
Eventually, after a buildup with large chords in the right hand and octaves deep in the bass in the left hand, this theme is played again this time with harp like arpeggios in both hands. The piece continues in this manner for a while until the second theme, a chordal section marked Poco più mosso is introduced.