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In the 20th and 21st century, figured bass is also sometimes used by classical musicians as a shorthand way of indicating chords when a composer is sketching out ideas for a new piece or when a music student is analyzing the harmony of a notated piece of music (e.g., a Bach chorale or a Chopin piano prelude). Figured bass is not generally used ...
In the Baroque period, D major was regarded as "the key of glory"; [1] hence many trumpet concertos were in D major, such as those by Johann Friedrich Fasch, Gross, Molter (No. 2), Leopold Mozart, Telemann (No. 2), and Giuseppe Torelli. Many trumpet sonatas were in D major, too, such as those by Corelli, Petronio Franceschini, Purcell, and
Compositions using the octatonic scale: Radiohead "Just" (1995). Jonny Greenwood plays a series of OCT02 scales on the guitar during the intro (0:06-0:16) and each chorus (0:55-1:05, 1:44-1:55, 2:47-3:09) [1] Béla Bartók; Harvest Song (Ara táskor) Violin Duo # 33. Frederic Chopin; Ballade No. 1 in G Minor, Op. 23 : (bars 130-132)
Bach and Alkan chose C# major, but most composers have preferred D♭ major or D♭ major: 5 flats 4 C# minor: 4 sharps 5 D major: 2 sharps 6 D minor: 1 flat 7 E♭ major: 3 flats 8 Either D# minor: 6 sharps Most composers of sets of 24 pieces have preferred E♭ minor over D# minor. Bach, Lyapunov and Ponce are among the few who have used D#.
The penmanship also matches that of Chopin, including its small size and the unusual bass clef, [1] although his friend Julian Fontana drew this clef similarly, leading to some past confusion between their manuscripts. [3] This extends to the "Valse" written at the top, although the name "Chopin" is in another hand. [1]
Chopin's last piano, used in 1848–49 (Fryderyk Chopin Museum, Warsaw) Chopin's pupil Friederike Müller wrote: [His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He – or she ...
An die Jugend for piano, the right hand part of the "Preludietto, Fughetta ed Esercizio" is based on the whole tone scale. [10] Frédéric Chopin. Prelude No. 19, mm. 43–44, in the bass, "while the melody moves down chromatically" [11] Alexander Dargomyzhsky. The Stone Guest, passage from act 3 [12] Peter Maxwell Davies
Musicologist Hugo Leichtentritt (1874–1951) calls the étude a "moto perpetuo". [10] The transparent texture of nonstop semiquavers accompanied by a light "dancing" bass has its forerunners in Bach's Prelude No. 5 in D major (BWV 850) from the first book of The Well-Tempered Clavier and resembles other virtuoso pieces from around 1830 such as Paganini's Moto Perpetuo for violin and piano.