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Vivaldi structured the Magnificat, RV 610, in nine movements, eight for the text of the canticle (Luke 1:46-55) and the conclusion for the doxology.Set in G minor, it is scored for two soprano soloists, alto and tenor soloists, SATB choir, two oboes, violin I and II, viola, and basso continuo, such as cello and a keyboard instrument.
Monte calvario (English title:Mount Calvary) is a Mexican telenovela produced by Valentín Pimstein and Angelli Nesma Medina for Televisa in 1986. [1] It is an original story Delia Fiallo of and directed by Beatriz Sheridan .
The script was written by René Muñoz and it is an adaptation of Delia Fiallo's original radionovela La mujer que no podía amar. It was a remake of the 1986 telenovela Monte calvario . The telenovela aired on Canal de las Estrellas from November 18, 1996 to May 2, 1997.
Dieter Schnebel wrote a Magnificat in 1996/97 for small choir (schola), percussion and additional instruments ad libitum. Arvo Pärt composed a setting for choir a cappella. Kim André Arnesen's Magnificat for choir, strings, piano, and organ premiered in 2010. [citation needed] The Taizé Community have also composed an ostinato setting of the ...
Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani.
The table of chords, created by the Greek astronomer, geometer, and geographer Ptolemy in Egypt during the 2nd century AD, is a trigonometric table in Book I, chapter 11 of Ptolemy's Almagest, [1] a treatise on mathematical astronomy. It is essentially equivalent to a table of values of the sine function.
Sometimes the guitarist leaves out the highest note in a double barre chord. Most variations of these two chords can be barred: dominant 7ths, minors, minor 7ths, etc. Minor barre chords include a minor third in the chord rather than the major third (in "E" and "A" shaped barre chords, this note happens to be the highest 'non-barred' note ...
Traditionally, in classical and jazz contexts, when building a chord on the dominant of the minor tonality, this raised seventh is present, and so both of these chords have a strong pull to the tonic. This chord appears in classical music, but it is used more in the late Romantic period than in the Classical and Baroque periods.