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It is a generic name for any composition for the instrument, but when used in a title (Piano Piece, Piece for Piano) the name is used to indicate a (usually) single-movement composition for solo piano that has not been given a more specific name (such as Sonatina, Allegro de concert or Le Bananier), for example:
Carrying (i.e. 1. generally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato) portato or louré
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Since the invention of sound recording, a classical piece or popular song may exist as a recording.If music is composed before being performed, music can be performed from memory (the norm for instrumental soloists in concerto performances and singers in opera shows and art song recitals), by reading written musical notation (the norm in large ensembles, such as orchestras, concert bands and ...
Music of despair; Music of death; The first category contains pieces in which a troubled spirit seeks consolation in memories of the past. Liszt referred to this music as his "forgotten" pieces — sardonically referring to compositions forgotten before even played, with titles such as Valse oubliée, Polka oubliée and Romance oubliée. [23]
A funeral march (marche funèbre in French, marcia funebre in Italian, Trauermarsch in German, marsz żałobny in Polish), as a musical genre, is a march, usually in a minor key, in a slow "simple duple" metre, imitating the solemn pace of a funeral procession.
Totentanz (English: Dance of the Dead): Paraphrase on Dies irae, S.126, is the name of a work for solo piano and orchestra by Franz Liszt notable for being based on the Gregorian plainchant melody Dies irae as well as for stylistic innovations. It was first planned in 1838, completed and published in 1849, and revised in 1853 and 1859.
The music returns to the tempo and dynamics of the introduction. Death's melody has a narrow pitch range (save for the last note where the singer has the option of dropping to D below the melody line). The key modulates to F major, the relative major of D minor. With the last syllable of Death's song, the key changes into D major.