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A third- or fourth-order acoustic crossover often has just a second-order electrical filter. This requires that speaker drivers be well behaved a considerable way from the nominal crossover frequency, and further that the high-frequency driver be able to survive a considerable input in a frequency range below its crossover point.
The midwoofer-tweeter-midwoofer loudspeaker configuration (called MTM, for short) was a design arrangement from the late 1960s that suffered from serious lobing issues that prevented its popularity until it was perfected by Joseph D'Appolito as a way of correcting the inherent lobe tilting of a typical mid-tweeter (MT) configuration, at the crossover frequency, unless time-aligned. [1]
The following other wikis use this file: Usage on bs.wikipedia.org Frédéric Chopin; Usage on es.wikipedia.org Scherzos (Chopin) Usage on fi.wikipedia.org
Even so, Johannes Brahms still felt the need to rewrite his C-sharp minor piano quartet in C minor, which was published as Piano Quartet No. 3 in C minor, Op. 60. [citation needed] The last intermezzo from his Three Intermezzi for piano, Op. 117 is in C-sharp minor. Alkan composed the second movement (Adagio) for Concerto for Solo Piano in C ...
Piano Sonata in C-sharp minor (Tchaikovsky) Piano Sonata in C-sharp minor, D 655 (Schubert) Piano Sonata No. 14 (Beethoven) Polonaises, Op. 26 (Chopin) Prelude and Fugue in C-sharp minor, BWV 849; Prelude and Fugue in C-sharp minor, BWV 873; Prelude in C-sharp minor (Rachmaninoff) Prelude in C-sharp minor, Op. 11, No. 10 (Scriabin)
Some of these are well-known, such as the Barcarolle in F-sharp, the Fantaisie in F minor, the Berceuse in D-flat, and some of the 19 Polish songs. Most of the other lesser-known works were published only after his death, contrary to his express wishes that all his unpublished manuscripts should be burned.
The Scherzo No. 3, Op. 39, in C ♯ minor by Frédéric Chopin. He began composing it 1838 in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain, and completed it back in France by the end of 1839. [1] This is the most terse, ironic, and tightly constructed of the four scherzi, with an almost Beethovenian grandeur.
The Mazurka in C-sharp minor should really have a subtitle: in the Phrygian mode for this is the special quality of its main theme and the crowning climax at the end. How Chopin incorporates the mode into the piece is fascinating: The mazurka starts with an outlining of the Phrygian scale as a solo right hand melody, only then repeating it with ...