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The passages that follow modulate in rapid succession through C minor – G- E flat – F – G – A flat – F minor – D flat – G and diminished and augmented chords in measures 83. The Prelude ends in a series of embellishing diminished, half-diminished and dominant seventh chords which all contain the tonic note (C).
Allegro, C minor, ends in C major, variation form with the fifth variation (in E-flat major) augmented. The minuet is a canon. The oboes carry the melody with the bassoons answering one bar later. The trio is also canonic with the response to the melody played upside down. [1] The finale is a set of variations containing a central episode in E ...
Piano Trio in C minor, MWV Q3 (Mendelssohn) Piano Trio No. 1 (Shostakovich) Piano Trio No. 2 (Mendelssohn) Piano Trio No. 3 (Brahms) Piano Trios, Op. 1 (Beethoven) Polonaises Op. 40 (Chopin) Pomp and Circumstance Marches; Popoli di Tessaglia! Prelude and Fugue in C minor, BWV 546; Prelude and Fugue in C minor, BWV 847; Prelude and Fugue in C ...
The second piece, in F major, followed on 22–25 November, also contains a slower portion coupled with a quick section. No. 3, in C minor, took more than a month to compose, dated from 3 December 1886 to 12 January 1887. With a chordal texture spread over the entire keyboard, it is reminiscent of the music of Robert Schumann. [5]
The piece is structured as a three-part form. The theme of the first and second sections are played entirely in minor thirds, accompanied by a left hand figure of open fifths and octaves. The third section has the melody in minor sixths, alongside a staccato octave bass. The lament of the opening theme transforms into an explicit funeral march ...
The opening bars of No. 1 in C ♯ minor. The Nocturne in C-sharp minor, referred to as Nocturne No. 7 in the context of the complete set of Chopin's Nocturnes, is initially marked larghetto and is in 4 4 meter, written as common time. It transitions to più mosso (more movement) in measure 29, along with a time signature change to 3 4 meter.
Great Mass in C minor, K. 427 (417a) Piano Concerto No. 24, K. 491) Maurerische Trauermusik K. 477 (479a) Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 517; Adagio and Fugue in C minor. K. 546; Wind Serenade in C minor. K. 388 (384a) Fantasy in C minor for violin and piano, K. 396 (385f) Piano Sonata in C minor, K. 457 ...
The prelude continues like so for 33 bars, with different harmony and changes of key.The coda begins at the 34th bar, where a sudden change of texture and tempo occurs. In the first bar of the coda, an arpeggiated chord is followed by a rapid succession of thirty-second notes.