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When an arpeggio also contains passing tones that are not part of the chord, certain music theorists may analyze the same musical excerpt differently. The word arpeggio comes from the Italian word arpeggiare, which means to play on a harp. Despite its Italian origins, its plural usage is usually arpeggios rather than arpeggi.
Music arranged for fingerstyle playing can include chords, arpeggios (the notes of a chord played one after the other, as opposed to simultaneously) and other elements such as artificial harmonics, hammering on and pulling off notes with the fretting hand, using the body of the guitar percussively (by tapping rhythms on the body), and many ...
played like a harp (i.e. the notes of the chords are to be played quickly one after another instead of simultaneously); in music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise; arpeggios are frequently used as an accompaniment; see also broken chord
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The arpeggione is especially suited to playing runs in thirds, double stops, and arpeggios. [1] It enjoyed a brief period of popularity for perhaps a decade after its invention around 1823 by the Viennese instrument luthiers Johann Georg Stauffer and Peter Teufelsdorfer.
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 ...
Instructs one section to divide into two or more separate sections, each playing a separate part. Often these separate parts are written on the same staff. Oppure: from o ("or") + pure ("also") Informs the player of alternative ways to play a passage. See Ossia. Solo: alone: A piece or performance to be played by a single musician Sole: Group solo
Free-stroke is mainly used in arpeggio ("broken-chord") playing. They are often combined to provide contrasting voices, between melody and harmony. "Rest-stroke on the melody" is a common approach to balancing the voices. One of the tenets of right-hand technique in melody playing is strict alternation of i and m.