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Musicologist Hugo Leichtentritt (1874–1951) calls the étude a "moto perpetuo". [10] The transparent texture of nonstop semiquavers accompanied by a light "dancing" bass has its forerunners in Bach's Prelude No. 5 in D major (BWV 850) from the first book of The Well-Tempered Clavier and resembles other virtuoso pieces from around 1830 such as Paganini's Moto Perpetuo for violin and piano.
The company's output included "drama songs, speeches, folk music, classical music, drama sets, skits and plays, vocal and instrumental music". [9] It has been estimated that about 600 titles have survived in private collections. [8] The British Museum have digitised some of these records which are free in an online archive. [9] [8]
Mechanical music technology is the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, play back or record songs or pieces; or to analyze or edit music. The earliest known applications of technology to music was prehistoric peoples' use of a tool to hand-drill holes in bones to ...
The symphony is scored for one piccolo (doubling as 3rd flute in the second movement), two flutes, two oboes, one English horn, two clarinets in B ♭ and A, one bass clarinet in B ♭ and A, two bassoons, four horns in F, two trumpets in B ♭ and D, two tenor trombones, one bass trombone, one tuba, two sets of timpani (requiring two players), cymbals, bass drum, tamtam, two harps (the second ...
An automated virtual version of Jordan Rudess on a screen during a live performance in Porto Alegre, 2010. While many keyboard players in progressive rock tend to bring numerous keyboards on stage, creating large racks of instruments, Rudess samples sounds from other keyboards he owns and maps them to a single keyboard.
Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. [47]
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo.
Tension occurs when the music (and the listener with it) is pulled away from the tonic. Tchaikovsky "not only increases the contrasts between the themes on the one hand and the keys on the other," but ups the ante by introducing his second theme in a key unrelated to the first theme and delaying the transition to the expected key.
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