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E-flat major was the second-flattest key Mozart used in his music. For him, E-flat major was associated with Freemasonry; "E-flat evoked stateliness and an almost religious character." [4] Edward Elgar wrote his Variation IX "Nimrod" from the Enigma Variations in E-flat major. Its strong, yet vulnerable character has led the piece to become a ...
The song is written in the time signature of 6/8 and in the key signature of E-flat major, the key that Mozart used for the Countess in The Marriage of Figaro. [7] The tempo instruction is ruhig (quiet), equivalent to andante. The vocal range is mainly from E-flat 4 to F 5, with one G 5 –A-flat 5 figure. The song begins with a two-bar piano ...
It is notable for its use of piano chords deep in the bass register, influenced by the sonorous English pianos Haydn came to appreciate while in London. [2] The short and cheerful second movement (in sharp contrast to the first) has the scheme A–B–A–Coda. Unusually, the violin takes a more important role than the piano.
However, at the request of the composer's mother and sisters, Julian Fontana selected 23 unpublished piano pieces and grouped them into eight posthumous opus numbers (Opp. 66–73). These works were published in 1855, and include the Fantaisie-Impromptu , 8 mazurkas, 5 waltzes, 3 polonaises, 3 écossaises, a nocturne, a rondo, and a Marche ...
Piano Sonata in E-flat (Bax) Piano Sonata in E-flat major, D 568 (Schubert) Piano Sonata No. 2 (Kabalevsky) Piano Sonata No. 4 (Beethoven) Piano Sonata No. 4 (Mozart) Piano Sonata No. 13 (Beethoven) Piano Sonata No. 18 (Beethoven) Piano Sonata No. 18 (Dussek) Piano Sonata No. 26 (Beethoven) Three Piano Sonatas, WoO 47 (Beethoven) Piano Trio No ...
The development follows after the cadenza. The piano employs many pianistic devices such as parallel octaves, rapid arpeggio and scale figures, and polyrhythms. The recapitulation follows and later the coda, profuse with octaves and large chords. The movement lasts about 14 minutes. Andante The second movement is in E major and is in 3/4 time.
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).
Étude Op. 10, No. 5 is known as the "Black Key Étude" as its right-hand part is entirely on black keys, except for one note. Leichtentritt states that the melodic character resulting from the use of black keys is "based on the pentatonic scale to which the piece owes its strangely playful, attractively primitive tint."
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