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After a flurry of piano octaves, fragments of the "plaintive" theme are revisited for the first time in E ♭ major, then for the second time in G minor. Then the piano and the strings take turns playing the theme for the third time in E major while the timpani furtively plays a tremolo on a low B until the first subject's fragments are continued.
A vocal technique involving a wide or slow vibrato, not to be confused with the trillo or "Monteverdi trill" Tremolo is sometimes used interchangeably with vibrato. However, a tremolo is a variation of volume (or amplitude); as contrasted with vibrato, which is a variation of pitch (or frequency).
Musical technique is the ability of instrumental and vocal musicians to exert optimal control of their instruments or vocal cords in order to produce the precise musical effects they desire. Improving one's technique generally entails practicing exercises that improve one's muscular sensitivity and agility. Technique is independent of musicality.
Performance of a piano concerto involves a piano on stage with the orchestra. A piano concerto, a type of concerto, is a solo composition in the classical music genre which is composed for piano accompanied by an orchestra or other large ensemble. Piano concertos are typically virtuosic showpieces which require an advanced level of technique.
There are a number of pieces which require a singer to lean over a (sometimes amplified) piano and sing directly into the strings. If the strings are not damped, the effect is to start audible sympathetic vibrations in the piano. By far the most famous piece to use this technique is Ancient Voices of Children by George Crumb. [citation needed]
Aram Khachaturian contributed to the repertoire with a piano concerto and a Concerto-Rhapsody. Arnold Schoenberg's Piano Concerto is a well-known example of a dodecaphonic piano concerto. Béla Bartók also wrote three piano concertos. Like their violin counterparts, they show the various stages in his musical development.
This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres. Hector Berlioz "Dream of Witches' Sabbath" from Symphonie Fantastique. The violins and violas play col legno, striking the wood of their bows on the strings (Berlioz 1899, 220–22). Heinrich Ignaz Franz von Biber; Battalia ...
The effect had been prefigured by composers including Francesco Pollini (1762–1846), a pupil of Mozart, whose 32 esercizi for the piano (1829), based on techniques found in the keyboard music of Johann Sebastian Bach and Jean-Philippe Rameau, included music written on three staves, and using interlocking hand positions, to generate the impression of three, or even four, hands.
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