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Caprice 15 is in ABA form. The "A" section is in E minor and starts with a melody in octaves followed by a variation in 32nd notes. The "B" section is in G major (the relative major to E minor) and features upbow staccato and singly-bowed arpeggios. 16: G minor: Presto: Caprice No. 16 is perhaps the simplest of the caprices. The chief ...
Scales and Arpeggios, Fundamental Exercises for the Saxophone Book 1, 2 and 3 by Marcel Mule. Alphonse Leduc, SS, 1948, 30 pages. This book includes scales, scales in thirds, arpeggios, arpeggios on the dominant seventh chord in all major and minor keys. Instructions are in French, English, German, Spanish and Japanese.
Scales and arpeggios (with several alternate articulations) [7] Major and minor scales, proceeding in thirds [7] Arpeggios on dominant 7th chords [7] Arpeggios on diminished sevenths [7] Intervals [8] Chromatic intervals [8] Articulation and intervals [8] Expression [8] Melodic expression [8] Rhythmic expression [8] Harmonic expression [8]
It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales, left hand pizzicato, high positions, and quick
Wind, brass, and fretted-stringed-instrument players can perform an extremely rapid chromatic scale (e.g., sliding up or down a string quickly on a fretted instrument). Arpeggio effects (likewise named glissando) are also obtained by bowed strings (playing harmonics) and brass, especially the horn. [6]
Trio in B♭ major, Op. 274 for horn, clarinet and piano; Carl Gottlieb Reißiger. Solo per il Corno; Joseph Rheinberger. Sonate Es-major, Op. 178 for horn and piano; Nikolai Rimsky-Korsakov. Notturno for horn quartet; Gioacchino Rossini. Prelude, Theme and Variations for horn and piano; Camille Saint-Saëns. Romance in F major, Op. 36 for horn ...
[12] The chord-scale system provides familiarity with typical chord progressions, technical facility from practicing scales and chord arpeggios, and generally succeeds in reducing "clams", or notes heard as mistakes (through providing note-choice possibilities for the chords of progressions), and building "chops", or virtuosity. [13]
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.