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Piano Sonata in C major, D 840 (Schubert), 1st mvt bars 33-39. Alexander Scriabin; Prelude Op. 74, No. 3 (1914) [11] Piano Sonata No. 9, Op. 68 (1912-13), melody from bar 5 onwards. Juan Maria Solare; Octango (2005) Transfuga. Igor Stravinsky; Petroushka (1911) [12] [14] The Rite of Spring (1913) [12] [14] Les Noces (1923) [12] [15] Symphony of ...
12-tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. 12 equal temperament (12-ET) [a] is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 (≈ 1.05946).
piano 1847 [aj] Major keys ascending chromatically from C alternate with minor keys ascending chromatically from f. There is a final 25th Prayer in C major. [57] [58] Peregrin Feigerl (1803–1877) [59] 24 Etudes or Caprices 2 violins 1847 C5 [n] [60] Charles-Valentin Alkan: 12 Études in all the major keys, Op. 35 piano 1848 [ak]
The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one half step. The word chromatic comes from the Greek chroma, color; and the traditional function of the chromatic scale is to color or embellish the tones of the major and minor scales. It does not define a key, but it gives a sense of ...
12 tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. An equal temperament is a musical temperament or tuning system that approximates just intervals by dividing an octave (or other interval) into steps such that the ratio of the frequencies of any adjacent pair of notes is the same.
Modes of limited transposition are musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups. These scales may be transposed to all twelve notes of the chromatic scale, but at least two of these transpositions must result in the same pitch classes, thus their transpositions are "limited".
Voiles from Préludes, Book 1 [12] Edward Elgar. The Dream of Gerontius [20] Blair Fairchild. A Baghdad Lover, nine songs for bass and piano, Op. 25 (1911) [21] Mikhail Glinka. Ruslan and Lyudmila, near the end of the overture, in the finale to act 1, and in the act 4 chorus "Pogibnet! Pogibnet!" [12] [22] The Human Abstract "Holographic Sight ...
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm.
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