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Incipit for "La campanella" by Franz Liszt (Grandes études de Paganini S. 141 no. 3) The étude is played at a gentle, brisk allegretto tempo and features constant octave hand jumps between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be ...
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The outcome is a very transparent texture, with the rondo theme having hints of musical qualities associated with Romani music. This movement has served as the basis of compositions by other composers, such as the Étude S. 140 No. 3 "La campanella" by Liszt, and Strauss I's Walzer à la Paganini Op. 11.
Étude No. 3 in G ♯ minor "La Campanella", marked Allegretto, which is after the final movement of Paganini's Violin Concerto No. 2 in B minor. Étude No. 4 in E major "Arpeggio", marked Andante quasi allegretto, which is after Caprice No. 1 in E major. It was written on one line only, omitting the usual separate line for the left hand, this ...
Hebert, David G. "Five Challenges and Solutions in Online Music Teacher Education." Research and Issues in Music Education 5 (2007). Salavuo, Miikka. "Open and Informal Online Communities as Forums of Collaborative Musical Activities and Learning." British Journal of Music Education 23 no. 3 (2006), pp. 253-271. Schlager, Ken. "Distance Learning."
Mario Castelnuovo-Tedesco – Capriccio Diabolico for classical guitar is a homage to Paganini, and quotes "La campanella" Frédéric Chopin – Souvenir de Paganini for solo piano (1829; published posthumously) Ivry Gitlis – Cadenza for the 1st movement of Paganini's Violin Concerto No. 2 Op. 7 "La Campanella" (1967)
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"Grande Fantaisie de Bravoure sur La Clochette de Paganini [Large Bravura Fantasy on Paganini's La Campanella], Op. 2 (1832)", pp. 1–30. Etudes d'Exécution Transcendante d'après Paganini [Etudes for Transcendental Technique after Paganini] (1838) (dedicated to Clara Schumann), pp. 31–90.