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In the Hyakki Yagyo Emaki from the Muromachi period, yōkai that appeared as umbrellas could be seen, but in this emaki, it was a humanoid yōkai that merely had an umbrella on its head and thus had a different appearance than that resembling a kasa-obake. [7] The kasa-obake that took on an appearance with one eye and one foot was seen from the ...
Title page of 12 Fantasias for Solo Violin. Georg Philipp Telemann's collection of 12 Fantasias for Solo Violin, TWV 40:14–25, was published in Hamburg in 1735. It is one of Telemann's collections of music for unaccompanied instruments, the others being twelve fantasias for solo flute and thirty-six for solo harpsichord that were published in Hamburg in 1732–33, as well as a set of twelve ...
Due to this unusual scoring, the piece is sometimes adapted to fit other types of trios; e.g. a clarinet–violin–piano trio, a violin–cello–piano trio, a clarinet–cello–piano trio, or a violin–viola–piano trio, as in that first publication by Artaria. [7] No composer before Mozart had written for this combination of instruments. [4]
E ♭ cornet, also known as a soprano cornet; Tenor horn, known as an Alto Horn in the US; Tuba in E-flat (written at concert pitch when using the bass clef, only transposing when written in treble clef) Circular altohorn (Koenig horn) pitched in E ♭ Tenor cornet; Mellophone; Alto trombone; Vocal horn (cornet with an upward-facing bell)
The piece is scored in three movements for solo violin, solo viola, two oboes, two horns, and strings, the last including a divided viola section, which accounts for the work's rich harmony. The solo viola part is written in D major instead of E ♭ major, [ a ] and the instrument tuned a semitone sharper ( scordatura technique), to give a more ...
Unlike Mozart's other works for violin and keyboard, the first edition was printed with a separate ad libitum cello part for all six sonatas. The part mostly doubles the principal notes in the left hand part of the keyboard in the manner of Haydn's early piano trios (e.g. Trio No. 5 in G minor, Hob.
Another class of eye music is when the score is purposely made difficult for the performer. [1] For example, in Benedetto Marcello's cantata Stravaganze d’amore, the continuo part is written entirely in enharmonic chords, that is, "puns" of chord indications spelled with no regard to the key of the rest of the ensemble, but (in equal temperament) indistinguishable audibly from those spelled ...