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Rather, somewhat (e.g. allegro piuttosto presto) pizzicato Pinched, plucked (i.e. in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco , which is inserted to cancel a pizzicato instruction; in music for guitar, to mute the strings by resting the palm on the bridge , simulating the sound of pizz ...
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Allegro: joyful; lively and fast: Joyful; moderately fast tempo Allegretto: a little bit joyful: Slightly less joyful than allegro (so slightly slower tempo) Andante: walking: At a walking pace; flowing; moderately slow tempo Andantino: a little bit walking: Less of a walking pace than andante (so slightly quicker) A tempo: to time: Return to ...
The composer and music theorist Johann Kirnberger (1776) formalized and refined this idea by instructing the performer to consider the following details in combination when determining the best performance tempo of a piece: the tempo giusto of the meter, the tempo term (Allegro, Adagio, etc., if there is one, at the start of the piece), the ...
Originally the Notenbuch was a bound volume comprising forty-eight pages of blank music paper, with eight staves on each page. Inscribed with the words Pour le clavecin (French: For the harpsichord), it was presented to Nannerl on the occasion of her eighth name day on 26 July 1759 (or possibly her eighth birthday, which fell on the 30th or 31st day of the same month).
Print/export Download as PDF; Printable version; In other projects ... Introduction and Allegro may refer to: Introduction and Allegro (Elgar) Introduction and ...
Rondeau: Allegro; The work is scored for two flutes, two oboes, two horns, solo piano, and strings. It is a lightly textured work from early in Mozart's career. The United States Library of Congress holds the autograph score. Mozart had intended to publish the score after he composed it, but it did not appear in print until after his death, in ...
Introduction and Allegro was composed in a neo-resurrected form of the Baroque concerto grosso. [4] However, such solos are not confined solely to the solo quartet, but rather are distributed ever so often among the accompanying orchestra, such as at the first transition entering the Allegro.