Search results
Results from the WOW.Com Content Network
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 ).
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 ...
No. 1 - Allegro agitato in C minor - "The Sea" No. 2 - Lento assai in A minor - "The Sea and the Seagulls" No. 3 - Allegro molto in F ♯ minor; No. 4 - Allegro assai in B minor; No. 5 - Appassionato in E ♭ minor; No. 6 - Allegro in A minor - "Little Red Riding Hood and the Wolf" [3] No. 7 - Lento lugubre in C minor; No. 8 - Allegro moderato ...
C minor is a minor scale based on C, consisting of the pitches C, D, E ...
Moderato C minor 4/4. This part is written in sonata form. A six-bar orchestral introduction is followed by a solo piano. This opening remained unchanged in all three versions. [1] In the tempo molto tranquillo, the soloist plays the lyric second subject with the accompaniment of strings and horn.
The Allegro vivace begins as a playful and cunning scherzo (although still in C minor), deriving its main theme from the original chromatic subject in the beginning of the first movement. There is a bold switch to 6/8 time, and the piano leads the orchestra into a new brief but energetic theme. Eventually the orchestra moves into a lush Andante ...
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 ...