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The odd numbered preludes are in major keys, starting with C major, and each is followed by a prelude in the relative minor key. The paired preludes proceed through the circle of fifths (C major and A minor; G major and E minor; D major and B minor; etc.). Most can be played as stand-alone pieces.
The preludes are formally free, although many of them exhibit typical Baroque melodic forms, often coupled to an extended free coda (e.g. Book 1 preludes in C minor, D major, and B ♭ major). The preludes are also notable for their odd or irregular numbers of measures, in terms of both the phrases and the total number of measures in a given ...
For example, in Alkan’s 25 Preludes, Op. 31, the sequence of keys moves alternately up a fourth and down a third: the major keys take the odd-numbered positions in the cycle, proceeding chromatically upwards from C to C again, and each major key is followed by its subdominant minor. Yet others used no systematic ordering.
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Claude Debussy's Préludes are 24 pieces for solo piano, divided into two books of 12 preludes each. Unlike some notable collections of preludes from prior times, such as Chopin's Op. 28 preludes, or the preludes from Johann Sebastian Bach's The Well-Tempered Clavier, Debussy's do not follow a strict pattern of tonal centers.
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
In 1901, Rachmaninoff wrote his Prelude in G minor.This was not published until he had completed nine more preludes in 1903, the set of 10 becoming his Op. 23. These were all in different keys, none of which was C ♯ minor, but it is not known whether he fully intended by this time to eventually complete the full complement of 24 preludes in different keys, to emulate earlier examples by Bach ...
It can be considered as the most harmonically complex of the entire series of preludes, hinting at polytonality. The left hand mainly employs the C diatonic collection , modulating shortly in the second theme and reverting in the coda , while the right hand uses the A-flat minor diatonic collection on E-flat , like the left hand modulating ...