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Caprice 15 is in ABA form. The "A" section is in E minor and starts with a melody in octaves followed by a variation in 32nd notes. The "B" section is in G major (the relative major to E minor) and features upbow staccato and singly-bowed arpeggios. 16: G minor: Presto: Caprice No. 16 is perhaps the simplest of the caprices. The chief ...
A series of arpeggios in J. S. Bach's Jesu, Joy of Man's Desiring "The Star-Spangled Banner" opens with an arpeggio. [1] Arpeggios open Beethoven's Moonlight Sonata and continue as accompaniment An arpeggio ( Italian: [arˈpeddʒo] ) is a type of broken chord in which the notes that compose a chord are individually sounded in a progressive ...
Frederick Neumann and Ivan Galamian, Contemporary Violin Technique, Volume 2: Double and Multiple Stops in Scale and Arpeggio Exercises; Simon Fischer, Basics, Peters Edition; Simon Fischer, The Violin Lesson A manual for teaching and self-teaching the violin, Edition Peters 2013
Much of Paganini's playing (and his violin composition) was influenced by two violinists, Pietro Locatelli (1693–1746) and August Duranowski (Auguste Frédéric Durand) (1770–1834). During Paganini's study in Parma, he came across the 24 Caprices of Locatelli (entitled L'arte di nuova modulazione – Capricci enigmatici or The art of the ...
Scale and Arpeggio-Studies [3] 24 Violin Etudes, Op.33 [4] 8 Transcriptionen, Op.13 [5] Volkslieder-Album [6] Gavotte from Iphigénie en Aulide by C.W.Gluck [7] Albrecht Blumenstengel dealt mainly with pedagogical works and duets, including all of Spohr's violin duets and his Duo op. 13 for violin and viola.
Wind, brass, and fretted-stringed-instrument players can perform an extremely rapid chromatic scale (e.g., sliding up or down a string quickly on a fretted instrument). Arpeggio effects (likewise named glissando) are also obtained by bowed strings (playing harmonics) and brass, especially the horn. [6]
3 Sonatas and 3 Partitas, for solo violin: Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; Sonata No. 2 in A minor, BWV 1003; Partita No. 2 in D minor, BWV 1004; Sonata No. 3 in C major, BWV 1005; Partita No. 3 in E major, BWV 1006; Fantasia and Fugue in G minor, BWV 542 (transcription for violin solo by Tedi Papavrami, 2010)
At the start of the third section, the opening horn melody returns. After another brief orchestral interlude, the violin theme of the beginning returns. The violin part recapitulates the melody, and then executes scalar and arpeggio passages all the while making a decrescendo, ending softly on a high G (three octaves above middle C).