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The Axe Manual, for piano and percussion (2000) Saraband: The King's Farewell, for piano (2001) Crowd, for solo harp (2005) The Io Passion - Aubades and Nocturnes, for basset clarinet and string quartet (2006) Dance of the metro-gnome, for piano (2006) Five Little Antiphonies for Amelia, for two trumpets (2006) Double Hocket, for piano trio (2007)
Winston, who cited Guaraldi as a key influence, stated, "I love his melodies and his chord progressions. He has a deeply personal way of voicing chords". [56] He added, "His music is part of our culture, and we know it even if we don't know Vince. He had three bags: the Latin, the Peanuts, and the impressionistic 'Cast Your Fate to the Wind ...
Pressing a key on the keyboard makes the instrument produce sounds—either by mechanically striking a string or tine (acoustic and electric piano, clavichord), plucking a string (harpsichord), causing air to flow through a pipe organ, striking a bell , or activating an electronic circuit (synthesizer, digital piano, electronic keyboard).
This motif also appears in measures 6, 10, and 12, several times later in the work, [clarification needed] and at the end of the last act.. Martin Vogel [] points out the "chord" in earlier works by Guillaume de Machaut, Carlo Gesualdo, J. S. Bach, Mozart, Beethoven, or Louis Spohr [1] as in the following example from the first movement of Beethoven's Piano Sonata No. 18:
Piano Sonata (1959) Six Absences, for harpsichord (1961) Lucy Escott Variations, for harpsichord or piano (1963) Divertimenti, for 2 pianos (1964) Margareten-Walzer, for piano (1978) Toccata senza fuga, for organ (1979; from Orpheus) Sechs Stücke für junge Pianisten, for piano (1980; from Orpheus) Cherubino, 3 miniatures for piano (1980–81)
These bands have released more than a dozen albums under the pianist's name. Since the early 2000s, Mehldau has experimented with other musical formats in addition to trio and solo piano. Largo, released in 2002, contains electronics and input from rock and classical musicians.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
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.
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