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After the opening few phrases the tempo briefly becomes faster and more rigorous, but soon returns to that of the beginning, with the voice now accompanied by the strings. This is followed by the winds' introduction of a modulation to E-flat major, at which point the piano enters in a light, gentle almost flirtatious upwards moving passage ...
In chess and other chess-like games, a tempo (from Italian: tempo, lit. 'time') is a "turn" or single move (a half-move or ply made either by White or Black). When a player achieves a desired result in one fewer move, the player is said to "gain a tempo"; conversely, when a player takes one more move than necessary, the player is said to "lose a tempo".
After a tempo change, a composer may return to a previous tempo in two ways: a tempo – returns to the base tempo after an adjustment (e.g. ritardando ... a tempo undoes the effect of the ritardando). Tempo primo or Tempo I o – denotes an immediate return to the piece's original base tempo after a section in a different tempo (e.g. Allegro ...
The flat symbol (♭) is used in two ways: It is placed in key signatures to mark lines whose notes are flattened throughout that section of music; it may also be an "accidental" that precedes an individual note and indicates that the note should be lowered temporarily, until the following bar line.
A tempo (or metric) modulation causes a change in the hierarchical relationship between the perceived beat subdivision and all potential subdivisions belonging to the new tempo. Benadon has explored some compositional uses of tempo modulations, such as tempo networks and beat subdivision spaces.
Seibel 146 \ Tu mi chiedi s'io t'amo in B flat major; Seibel 147 \ Quando sciolto d'amor io mi credea in E flat major; Seibel 148 \ Dal povero mio cor in C minor; Seibel 149 \ Lascia di tormentarmi in A minor; Seibel 150 \ Mia Climene adorata in E major; Seibel 151 \ Lontananza tiranna che vate in E flat major
This étude differs from most of Chopin's in its tempo, its poetic character and the lingering yet powerful recitation of its cantabile melody. It marks a significant departure from the technical virtuosity required in standard études before Chopin's time, though, especially in the third volume of Muzio Clementi's Gradus ad Parnassum (1826), slow études for polyphonic playing, especially ...
The key signature only has two flats (with the A flat needed to establish the key of C minor being written-in as accidentals). The tempo of Largo is not written (but is stylistically assumed in performance). Concludes with a G major chord. The movement is also used in the flute sonata in E minor (HWV 375). 2 Allegro C minor 4 4: 45 Has a fugal ...