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Equivalent patterns in 4 4 and 3 4 [1] Play 4 4 ⓘ and Play 3 4 ⓘ Alberti bass patterns on V 7 Alberti bass in the opening of Thomas Attwood's (1765–1838) Sonatina in G Major [2] Play ⓘ Alberti bass in the opening of Muzio Clementi's Sonatina in G, Op. 36, No. 2 (1797) [3] Play ⓘ The opening of the 5th of Beethoven's Seven Variations on "God Save the King" WoO 78 (1804) introduces ...
The Prelude and Fugue in C major, BWV 846, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. An early version of the prelude, BWV 846A, is found in the Klavierbüchlein für Wilhelm Friedemann Bach.
Coming at this late point, after such a long period in C major, the key-change has an increased dramatic effect. At the end of the fugue, a culminating flourish consisting of a diminished seventh arpeggio is followed by a series of quiet chords punctuated by silences. These chords lead back to Diabelli's C major for Variation 33, a closing minuet.
The arc spring (also known as - bow spring, curved spring, circular spring or "banana" spring) is a special form of coil spring which was originally developed for use in the dual-mass flywheel of internal combustion engine drive trains. The term "arc spring" is used to describe pre-curved or arc-shaped helical compression springs.
The movement then evolves into a section in which the first violins play a romantic melody with the other strings playing a D major arpeggio harmony in pizzicato. The melody is then passed onto the violas and cellos, with the violins playing an echoing countermelody. The seconds play repeated D major arpeggios, while the basses play heavy octaves.
Unlike the Prelude in C major, BWV 846, that opens book 1 of the Well-Tempered Clavier, which consists mostly of broken chords, this prelude features a continuously flowing sequence of melodic ideas that Cecil Gray (1938, p. 82) says is "very much freer and subtler in form and procedure." [1] Ledbetter (2002, p.
Diminished major seventh chords are very dissonant, containing the dissonant intervals of the tritone and the major seventh.They are frequently encountered, especially in jazz, as a diminished seventh chord with an appoggiatura [citation needed], especially when the melody has the leading note of the given chord: the ability to resolve this dissonance smoothly to a diatonic triad with the same ...
The harmony moves to E minor in measure 52. There is high tension in the movement until measures 91–93, where a two-measure C major arpeggio stops suddenly, followed by a measure-wide rest. After that, the theme suddenly seems like a Baroque-era corrente movement. In measures 95–101, there is a longer scalic motif full of sixteenth notes ...
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