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Mass in B minor; Orchestral Suite No. 2, BWV 1067; Prelude and Fugue in B minor, BWV 544; French Suite No. 3, BWV 814; Partita No. 1 in B minor, BWV 1002; Flute Sonata in B minor, BWV 1030; Ludwig van Beethoven. Bagatelle Op. 126/4; Allegretto WoO 61 for piano; Charles Auguste de Bériot. Violin Concerto No. 2 in B Minor, Op. 32; Alban Berg ...
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm.
The violins play glissando, pizzicato, tremolo, and in double stops, and use particular effects such as col legno (striking the wood of the bow on the strings) and sul ponticello (bowing close to the bridge), in order to imitate the sounds of a cat, a dog, a hen, the lyre, clarino trumpet, military drum, Spanish guitar, etc. (Boyden 2001; Pyron ...
Aeolian harmony [10] is harmony or chord progression created from chords of the Aeolian mode. Commonly known as the "natural minor" scale, it allows for the construction of the following triads (three note chords built from major or minor thirds), in popular music symbols: i, ♭ III, iv, v, ♭ VI, and ♭ VII.
A unique particularity of the minor chord is that this is the only chord of three notes in which the three notes have one harmonic – hearable and with a not too high row – in common (more or less exactly, depending on the tuning system used). This harmonic, common to the three notes, is situated 2 octaves above the high note of the chord.
version of No. 24 by composer himself, for violin and piano or guitar published separately as Variazioni di bravura; piano accompaniments for Nos. 1–23 by Robert Schumann (1855) arrangement of Nos. 1–24 by Ferdinand David for violin and piano (c. 1860) version of the 24 caprices "avec accompagnement de pianoforte" by John Liptrot Hatton (1870)
The harmonic minor scale (or Aeolian ♮7 scale) is a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, [2] [3] [4] creating an augmented second between the sixth and seventh degrees.
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. [1] The lack of a minor or a major third in the chord creates an open sound , while the dissonance between the fourth and fifth or second and root creates tension.
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