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The overall structure of the piece is "a slow introduction, a quick central section, and a return to the initial slower tempo", which echoes the structure of Death and Transfiguration. [4] There are five basic thematic elements in Metamorphosen. First, there are the opening chords.
Death and Transfiguration (German: Tod und Verklärung), Op. 24, is a tone poem for orchestra by Richard Strauss. Strauss began composition in the late summer of 1888 and completed the work on 18 November 1889. The work is dedicated to the composer's friend Friedrich Rosch. The music depicts the death of an artist.
Richard Strauss in 1888. The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level.
Polymodal, consisting of a blue-orange mode with a chordal ostinato and cascades of chords, and a violet-purple mode having a copper timbre. Note the pianistic writing, composed of triple notes, rapid passages in chords, canon in contrary motion, hand crossing, various staccatos, brassy louré, gem effects. 6 Cloches d'angoisses et larmes d'adieu
Transfiguration is a live album by Alice Coltrane. It was recorded in Los Angeles, California, in April 1978, and was released as a double album later that year by Warner Bros. On the album, Coltrane appears on piano and organ, and is joined by bassist Reggie Workman and drummer Roy Haynes. One track, "Prema," also includes an overdubbed string ...
In music theory, a tetrachord (Greek: τετράχορδoν; Latin: tetrachordum) is a series of four notes separated by three intervals.In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cents)—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning ...
This motif also appears in measures 6, 10, and 12, several times later in the work, [clarification needed] and at the end of the last act.. Martin Vogel [] points out the "chord" in earlier works by Guillaume de Machaut, Carlo Gesualdo, J. S. Bach, Mozart, Beethoven, or Louis Spohr [1] as in the following example from the first movement of Beethoven's Piano Sonata No. 18: