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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.
The concerto finishes with piano solo, sadly playing low F minor chords. The final part of the work is, perhaps, its most important. Glass comments: "I wanted this final movement to reflect also the expanse of time - what the land was before the expedition and what it became after."
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
In 1994, Philip Glass wrote six seemingly ordinary piano etudes for conductor and pianist Dennis Russell Davies on the occasion of his 50th birthday. Glass also wrote them for himself.
The instrument was largely inspired by the glass harmonica created by Benjamin Franklin, [6] and was given the name glasschord by him. [7] On 6 July 1785, Thomas Jefferson that Franklin carried a version of the instrument with him, describing it as a sticcado .
[4] For example, if an excerpt from a piece of music implies or uses a C-major chord, then the notes C, E and G are members of that chord, while any other note played at that time (e.g., notes such as F ♯) is a nonchord tone. Such tones are most obvious in homophonic music but occur at least as frequently in contrapuntal music.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974 by the composer Philip Glass. [1]This work cycle was originally scored for ten instruments, played by five musicians: three electric organs, two flutes, four saxophones (two soprano, one alto, one tenor) and one female voice.
Piano scholar Edwin Good (1986; see References below) has examined a very similar Streicher piano made in 1870, with the goal of finding out more about Brahms's instrument. This 1870 Streicher has leather (not felt) hammers, a rather light metal frame (with just two tension bars), a range of just seven octaves (four notes short of the modern ...