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  2. File:IMSLP103834-PMLP14377-Für Elise, Beethoven-WoO.059, 1867.pdf

    en.wikipedia.org/wiki/File:IMSLP103834-PMLP14377...

    Original file (922 × 1,400 pixels, file size: 266 KB, MIME type: application/pdf, 6 pages) This is a file from the Wikimedia Commons . Information from its description page there is shown below.

  3. File:IMSLP11471-Fur Elise, Beethoven, WoO59.pdf - Wikipedia

    en.wikipedia.org/wiki/File:IMSLP11471-Fur_Elise...

    Short title: Untitled; File change date and time: 11:44, 25 July 2007: Date and time of digitizing: 11:44, 25 July 2007: Software used: LilyPond 2.10.25: Conversion program

  4. Für Elise - Wikipedia

    en.wikipedia.org/wiki/Für_Elise

    The score was not published until 1867, forty years after the composer's death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autograph manuscript, now lost, had the title: "Für Elise am 27 April [1810] zur Erinnerung von L. v. Bthvn" ("For Elise on April 27 in memory by L. v. Bthvn"). [4]

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  6. Chord chart - Wikipedia

    en.wikipedia.org/wiki/Chord_chart

    A chord chart. Play ⓘ A chord chart (or chart) is a form of musical notation that describes the basic harmonic and rhythmic information for a song or tune. It is the most common form of notation used by professional session musicians playing jazz or popular music. It is intended primarily for a rhythm section (usually consisting of piano ...

  7. Chord progression - Wikipedia

    en.wikipedia.org/wiki/Chord_progression

    These chords stand in the same relationship to one another (in the relative minor key) as do the three major chords, so that they may be viewed as the first (i), fourth (iv) and fifth (v) degrees of the relative minor key. For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D ...

  8. Schenkerian analysis - Wikipedia

    en.wikipedia.org/wiki/Schenkerian_analysis

    The chord labelled (V) at first merely is a "divider at the fifth". However, the meeting of the fifth (C) in the bass arpeggiation with the passing notes may also be understood as producing a dominant chord, V, arising from within the tonic chord I. This is the situation found at the beginning of Haydn's Sonata in F major, Hob.

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