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Rachmaninoff uses only the first 8 bars plus end-chord, and changes the E ♭ in the last chord of bar 3 to E ♮. Variations on a Theme of Chopin ( Russian : Вариации на тему Ф. Шопена , Variatsii na temu F. Shopena ), Op . 22, is a group of 22 variations on Frédéric Chopin 's Prelude in C minor ( Op. 28, No. 20 ...
Great Mass in C minor, K. 427 (417a) Piano Concerto No. 24, K. 491) Maurerische Trauermusik K. 477 (479a) Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 517; Adagio and Fugue in C minor. K. 546; Wind Serenade in C minor. K. 388 (384a) Fantasy in C minor for violin and piano, K. 396 (385f) Piano Sonata in C minor, K. 457 ...
The Prelude Op. 28, No. 20, in C minor by Frédéric Chopin has been dubbed the "Funeral March" by Hans von Bülow but is commonly known as the "Chord Prelude" due to its slow progression of quarter note chords. [1] It was written between 1831 and 1839. [2] The prelude was originally written in two sections of four measures, ending at m. 9.
The piece has a simple A-B-A structure, in keys of C minor – A-flat major – C minor. Johnson call it a “perfectly balanced ternary piece” and continues: “the 6/8 meter arpeggiation of the main theme is the sort of thing that Beethoven might indeed have spun.” [4] David Truslove describes: “Momentum in the outer panels is twice interrupted by the arrival of two disquieting chords ...
Piano Trio in C minor, MWV Q3 (Mendelssohn) Piano Trio No. 1 (Shostakovich) Piano Trio No. 2 (Mendelssohn) Piano Trio No. 3 (Brahms) Piano Trios, Op. 1 (Beethoven) Polonaises Op. 40 (Chopin) Pomp and Circumstance Marches; Popoli di Tessaglia! Prelude and Fugue in C minor, BWV 546; Prelude and Fugue in C minor, BWV 847; Prelude and Fugue in C ...
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
This is an example of a suspended chord. In reference to chords and progressions for example, a phrase ending with the following cadence IV–V, a half cadence, does not have a high degree of resolution. However, if this cadence were changed to (IV–)V–I, an authentic cadence, it would resolve much more strongly by ending on the tonic I chord.
The ending, a coda in Prestissimo (very quick), = 116, is a final, sweeping reiteration of the theme that closes in a heavy E minor chord, [14] which revisits Rachmaninoff's preoccupation with bell sounds, prominent in his Piano Concerto No. 2 and Prelude in C ♯ minor (Op. 3, No. 2). [1]