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The piano, in turn, has become louder, richer, even mushier in sound, and, above all, less wiry and metallic. This change makes nonsense out of all those passages in eighteenth-century music where the violin and the piano play the same melody in thirds, with the violin below the piano. Both the piano and the violin are now louder, but the piano ...
"Above All" is a Christian contemporary song co-written by Paul Baloche and Lenny LeBlanc in 1995. [1] A popular worship ballad, Michael W. Smith covered it in his live album Worship. Smith also performed it during U.S. President George W. Bush's 2001 inaugural prayer service. [2]
Hymn-style arrangement of "Adeste Fideles" in standard two-staff format (bass staff and treble staff) for mixed voices Tibetan musical score from the 19th century. Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece.
Chromatic scale drawn as a circle The diatonic scale notes (above) and the non-scale chromatic notes (below) [2] The twelve notes of the octave—all the black and white keys in one octave on the piano—form the chromatic scale. The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one ...
The first column examples shown above are formed by natural notes (i.e. neither sharps nor flats, also called "white-notes", as they can be played using the white keys of a piano keyboard). However, any transposition of each of these scales (or of the system underlying them) is a valid example of the corresponding mode. In other words ...
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"Jeunes filles au piano" ("Girls at the Piano" by Pierre-Auguste Renoir, painted in 1892. Musée d’Orsay, Paris. The social history of the piano is the history of the instrument's role in society. The piano was invented at the end of the 17th century, had become widespread in Western society by the end of the 18th, and is still widely played ...
Beissel codified the Ephrata Cloister's unique tradition in his Beissel's Dissertation on Harmony; here, he divided notes into two types. These were masters, or notes belonging to the common chord, and servants, or all other notes. Accented syllables in Beissel's works always fell on master notes, leaving servant notes for unaccented syllables.