Unusual properties of second main theme-Jeremy Siepmann
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Unusual properties of second main theme-Jeremy Siepmann歌曲下载
| 歌曲 | 歌手 | 专辑 | 时长 | 歌曲下载 |
|---|---|---|---|---|
| Unusual properties of second main theme | Jeremy Siepmann | Classics Explained: BEETHOVEN - Symphony No. 6, 'Pastoral' (Siepmann) | 02:15 |
|
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Unusual properties of second main theme-Jeremy Siepmann 同专辑其他歌曲
- On Beethoven's Openings-Jeremy Siepmann
- Opening phrase of the 'Pastoral': ood, Symbolism and Musical Function-Jeremy Siepmann
- Musical Acorns: the outline of melody; the shape of a question-Jeremy Siepmann
- The 'question' in the 'Pastoral' repeated...-Jeremy Siepmann
- ...and answered-Jeremy Siepmann
- The opening phrase ends on a note full of pregnant expectation-Jeremy Siepmann
- Starting with a stop-Jeremy Siepmann
- The rhythmic profile of the opening phrase; a two-part construction-Jeremy Siepmann
- Phrase One, Part One-Jeremy Siepmann
- Phrase One, Part Two-Jeremy Siepmann
- The properties of rhythmic ambiguity; the 'question' of Phrase One answered-Jeremy Siepmann
- Phrase Two: from meander to march-Jeremy Siepmann
- The makings of a conversation: contrast and variation-Jeremy Siepmann
- Repetition as A Major factor, but it's never mere repetition; each time something new is added-Jeremy Siepmann
- From soft to loud and back again; instrumental enrichment from horns and double-basses-Jeremy Siepmann
- Mega-repetition: violins play exactly the same little fragment ten times in a row-Jeremy Siepmann
- But no two repetitions are quite the same; varieties of contrast-Jeremy Siepmann
- More variation: pitch rises; violins joined frist by the clarinet, then by the oboe-Jeremy Siepmann
- Return to opening idea, but with new instrumentation and articulation-Jeremy Siepmann
- Clarinets, horns, bassoons and flutes now join expansive variation-Jeremy Siepmann
- 'New' insistent rhythm derived from the first four notes of the piece-Jeremy Siepmann
- With the dawn chorus, a whole forest is waking up; feelings of rapture-Jeremy Siepmann
- First violins play a derivative of the opening figure, joined by wind and strings-Jeremy Siepmann
- Sudden change of key, from the home key (tonic) to the dominant-Jeremy Siepmann
- Arrival at the hightly contrasting second main theme-Jeremy Siepmann
- Rhythmic clash between simultaneous groups of three beats and groups of two-Jeremy Siepmann
- winds fall selent as the violins and violas interrupt with a new theme-Jeremy Siepmann
- Winds answer with the same morse-like rhythm but at half the speed-Jeremy Siepmann
- Crescendo leads to strings' acceleration of the pace with no increase in tempo-Jeremy Siepmann
- Beginning of coda, directly based on morse-like rhythm of the main theme-Jeremy Siepmann
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