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Short title: Untitled; File change date and time: 11:44, 25 July 2007: Date and time of digitizing: 11:44, 25 July 2007: Software used: LilyPond 2.10.25: Conversion program
Kopitz presents the finding by the German organ scholar Johannes Quack that the letters that spell Elise can be decoded as the first three notes of the piece. Because an E ♭ is called an Es in German and is pronounced as "S", that makes E –(L)–(I)– S – E : E –(L)–(I)– E ♭ – E , which by enharmonic equivalents sounds the same ...
Compositions for clarinet, violin, cello and piano (3 P) Pages in category "Compositions for clarinet" The following 25 pages are in this category, out of 25 total.
"Für Elise" (German: "For Elise") is the popular name of the "Bagatelle in A minor", WoO 59, a work for solo piano written by Ludwig van Beethoven in about 1810. The work is widely familiar and has been frequently adapted for use in works of popular culture. This article is a listing of such uses.
For example, a written C on a B ♭ clarinet or trumpet sounds as a non-transposing instrument's B ♭. The term "concert pitch" is used to refer to the pitch on a non-transposing instrument, to distinguish it from the transposing instrument's written note. The clarinet or trumpet's written C is thus referred to as "concert B ♭ ". [1]
An example of a clarinet–viola–piano trio existed several hundred years before the clarinet–violin–piano trio; Mozart composed the Kegelstatt Trio in the 18th century, and the Romantic composer Max Bruch composed a suite of eight pieces for this combination, as well as a double concerto for viola, clarinet, and orchestra. Many of these ...
The piano plays sixteenth notes outlining the harmonies while the clarinet continues playing a slurred melody. The harmony descends in an imitation of the A section melody through the keys D ♭ major, C ♭ major, and A major. The clarinet gets a chance to play the sixteenth notes that the piano had before the modulation to E major.
The register key is a key on the clarinet [clarification needed] that is used to play in the second register; that is, it raises the pitch of most first-register notes by a twelfth (19 semitones) when pressed. It is positioned above the left thumb hole and is operated by the left thumb.
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