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  2. Mikrokosmos (Bartók) - Wikipedia

    en.wikipedia.org/wiki/Mikrokosmos_(Bartók)

    The individual pieces progress from very easy and simple beginner études to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the work "appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the ...

  3. 45 of the Best First Dance Songs to Kick Off Your Reception - AOL

    www.aol.com/lifestyle/45-best-first-dance-songs...

    2. “RIVER” BY LEON BRIDGES. Best lyrics: “Oh, I wanna come near and give ya/Every part of me”. Just jump ahead to the 1:30 mark to get to the good stuff.

  4. Csárdás (Liszt) - Wikipedia

    en.wikipedia.org/wiki/Csárdás_(Liszt)

    The three csárdás that Franz Liszt wrote in 1881–82 and 1884 are solo piano pieces based on the Hungarian dance form of the same name.Liszt treats the dance form itself much less freely than he did much earlier with the verbunkos in the Hungarian Rhapsodies, and the material itself remains more specifically Hungarian than gypsy in thematic material.

  5. Polovtsian Dances - Wikipedia

    en.wikipedia.org/wiki/Polovtsian_Dances

    The first dance, which uses no chorus and is sometimes omitted in concerts, is No. 8, entitled "Dance of the Polovtsian Maidens" ["Пляска половецких девушек"]: presto, 6/8, F major; it is placed directly after the "Chorus of the Polovtsian Maidens" which opens the act and is followed by "Konchakovna's Cavatina".

  6. Piano Sonata No. 1 (Vine) - Wikipedia

    en.wikipedia.org/wiki/Piano_Sonata_No._1_(Vine)

    The music is full of rich chordal movements, unusual flowing harmonies and tonalities, with great extremes of dynamic and energy. Reflecting the physical origins of the piece as a dance, the music is dotted with very strict changes of tempo which require exact adherence, rather than the Rubato approach that typifies many piano interpretations."

  7. '50s progression - Wikipedia

    en.wikipedia.org/wiki/'50s_progression

    The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...

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