- published: 02 Jun 2013
- views: 38280
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Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ear. Study these contemporary voicings to add flavor to your playing and to expand your piano chord vocabulary. In this lesson, you will be taught chord options for each tone of the a flat major scale.
#A flat major scale #a flat major #a flat major key signature #a flat piano chord #piano a flat chord #jazz chord progressions #jazz chord progressions piano #Piano chords that sound good together #piano chords online #piano chords songs #piano chords #church piano songs #Christian piano player #piano chords for hymns #Norfolk piano lessons Norfolk #play gospel piano #Norfolk learn to play gospel piano #Norfolk praise piano music #Norfolk notes for piano #piano tutorial #piano tutorial #advanced piano tutorial #beginner piano tutorial #gospel
- published: 25 Oct 2020
- views: 6238
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein.
This piece has performance notes written by Dr. Theodor Kullak, German composer. I do not know that Rubinstein performed based on these notes, but the score I used includes them, so you can read them if you're interested. (The letters in the score correspond to letters in the notes.)
"After a short prelude 'A', at 'B' begins the nocturne proper, which consists of a chief subject 'B'-'C', and a secondary subject 'C'-'E'. The latter is followed by the repitition of the chief subject.
"The chief subject 'B'-'C' (two-part song-form) reminds one in point of mood and coloring, of the preceding nocturne (Op.32 No.1). The secondary subject 'C'-'E' is more animated in style, and, at its transposition from F minor to F sharp minor at 'D' it assumes so passionate a character that even the chief subject, when it reappears at 'E', continues for a while in a state of stormy excitement (appassionato) and only by degrees recovers its dreamy repose. The same prelude which introduces the nocturne also forms the coda proper."
Performance Notes Copyright G. Schirmer, 1881.
Rubinstein's recording ©1999 RCA Red Seal, now Sony Entertainment.
---
Chopin Nocturne op. 32 No. 2 su A-flat Major. Interpretato da Arthur Rubinstein.
Questo brano ha note di prestazioni scritte da Dr. Theodor Kullak, compositore tedesco. Non so che Rubinstein effettuata sulla base di queste note, ma lo spartito che ho usato li include, in modo da poterli leggere se siete interessati. (Le lettere nello spartito corrispondono alle lettere nelle note.)
"Dopo un breve preludio 'A', a 'B' inizia la propria notturno, che consiste di un soggetto capo 'B'-' C ', e un soggetto secondario' C '-' E '. Quest'ultimo è seguito dalla ripetizione del soggetto principale.
"Il soggetto principale 'B'-' C '(in due parti sotto forma di canzone) ricorda al punto di umore e di colorazione, del notturno precedente (Op.32 N ° 1). Il soggetto secondario 'C'-'E' è più animata nello stile, e, al sua trasposizione da F minore a Fa diesis minore a 'D' assume un carattere così appassionato che anche il principale oggetto, quando riappare a 'E', prosegue per un po' in uno stato tempesta di eccitazione (appassionato) e solo a poco a poco ritrova la sua quiete sognante. Il preludio stessa che introduce il notturno costituisce anche la propria coda."
Note prestazioni sono Copyright G. Schirmer, 1881.
Registrazione di Rubinstein © 1999 RCA Red Seal, ora Sony Entertainment.
- published: 15 Jan 2012
- views: 519557
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
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Hope you enjoy my performance of Chopin's Heroic Polonaise.
Outro: Liszt - Hungarian Rhapsody No. 2
Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!
#Rousseau #Piano #PianoCover
- published: 28 Nov 2019
- views: 3466733
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both hands separately and together one octave.
Piano Guitar & Violin Lessons
Somerset Academy of Music
www.somersetacademyofmusic.com
513-683-9277
- published: 05 Apr 2020
- views: 854
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave. Then, two hands, two octaves. Try it playing quarter-notes, and then eighth-notes, and then sixteenths.
- published: 23 Jan 2013
- views: 14851
Movement I: 00:00
Movement II: 06:40
Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inversion): 18:00]
The sunniest of Beethoven's great late sonatas, and one that contains some beautiful and beautifully deployed fugal writing (note the complexity of some of the augmentation/diminution used -- see 18:35 -- and that the fugue subject is derived very directly from the opening phrase of the first movement).
It is interesting to note how different the fugal writing here is from that deployed in the Hammerklavier, No.29. Here the fugal writing is very strict, with the relatively meek exception of some doubling in the bass, but in the Hammerklavier the huge fugue includes some truly daring departures from the rules.
This is also the only late sonata which seems to have real humour in it (in the second movement).
Ashkenazy plays the first movement with incredible tenderness, and (thankfully) takes the fugal sections of the third movement with a speed that imbues with with prayerlike, reverential clarity.
- published: 06 Jun 2014
- views: 289573
The easiest way to learn piano chords:
►https://www.pianote.com/chord-hacks
Sign up for FREE piano lessons at: http://www.PianoLessons.com
.
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
.
For More Resources Check Out:
- http://pianolessons.com/piano-lessons/a-flat-major-scale.php
- published: 31 Aug 2009
- views: 129595
The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of all 32.
Why? Well, to start with the obvious: In a late sonata, where you’d expect ambiguity, radical structural innovation, gnarled counterpoint – a conventional 1st movement, with a theme so simple and unadorned [0:18] its only warrant, really, is its beauty. The development is not just simple but consciously minimalist, and the shift to and from E Maj in the recapitulation [3:36; 4:09] is exquisitely beautiful.
There is also the structural tightness of the sonata. The opening bars of the sonata become the subject of the first fugue in the last movement, and, in an inverted form, the subject of the second fugue also. The opening phrase of the 2nd movement scherzo [6:24] also becomes transformed into the arioso of the final movement [10:26]. So Beethoven does not just shift the focus of the sonata form from first movement to last, or even use the final movement to unify the other two – in this sonata, the final movement is where the themes presented in other two really take flight, and the final movement is almost entirely built around material already presented.
Also, that last movement. It features the most sophisticated use of counterpoint of all 32 sonatas: not because the contrapuntal writing is ingenious (which it is, but Sonatas No.28 + 29 have got that too), but because the counterpoint is used (maybe for the first time in musical history) as part of a dramatic narrative. The final movement is basically a struggle between the arioso theme, which is not merely sad but crushingly hopeless (dolente = painful, aching, ermattet = exhausted) to the point of its literally breaking up the second time it’s presented, and the fugue, which radiates an inner strength and consolation.
In the end, the fugue wins, but in an extraordinary way. The second fugue does not merely achieve a triumphant shape: it burns itself out of existence. As the texture thickens and intensifies with inversions and simultaneous presentations of augmentations and diminuitions [57:30], suddenly there are just two voices duelling in ecstasy [57:53, with the shift to 2 voices at 58:05], incessantly reaching higher, and then suddenly there is just one voice, the main theme pouring out in a great chorale [58:19]. It’s my favourite moment in all the 32 sonatas – a theme that leaps out of its own chasm of counterpoint, and when finally freed rings with a kind of joy which should be impossible after the arioso but somehow isn’t. And because the fugue theme is really the opening bars of the entire sonata, the sonata has an open-ended, cyclic form, with the basic movement over the entire piece being from lyricism (the opening) to hope (the final bars).
MVT I
EXPOSITION
00:00 – Theme 1
00:41 – Transition (a highly abstracted form of the melody that just preceded it)
01:05 – Theme (Group) 2
02:12 –DEVELOPMENT (Note how compressed it is, and how reliant on counterpoint)
03:03 – RECAPITULATION (Theme 1 is combined with the Transition theme in the LH)
05:59 – CODA
MVT II
06:24 – Scherzo
07:04 – Trio (Cleverly constructed out of large upward leaps and downward descents: Beethoven’s manuscript shows he struggled a lot working out of figuration of this section)
07:31 – Scherzo
08:13 – CODA/transition
MVT III
08:30 – INTRODUCTION
10:26 – ARIOSO (the melody is built from the downward gesture that opens the scherzo)
12:52 – FUGA I (The fugue subject is built from an ascending chain of fourths, and is derived from the sonata’s opening phrase. The countersubject is built from a descending chain of fourths.)
15:13 – ARIOSO (note how the melody is broken up, “sobbing”)
18:00 – FUGA II (The fugue subject is a straightforward inversion of the first fugue’s subject. If there was any doubt about the narrative structure of this movement Beethoven has marked this section wieder auflebend = again reviving, poi a poi di nuovo vivente = little by little with renewed vigour)
18:23 – The subject of the first fugue enters the fray in the lowest voice, in diminished form and with a different rhythmic emphasis. Immediately after, the first fugue subject also enters in the top voice, but this time in augmented form.
18:48 – A double diminuition of the first fugue subject is introduced, with a relaxing of the tempo which generates the effect of a gradual *increase* in tempo
18:53 – The subject of the second fugue enters in middle voice.
19:01 – The subject of the first fugue enters in bass. Effectively two voices left. The double diminuition becomes transformed into a decorative figure in RH.
19:15 – FINALE: Homophonic chorale. The theme escapes.
- published: 06 Feb 2017
- views: 362932
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Waltzes Op. 39
♫ Learn piano with the songs you love: http://tinyurl.com/pianoreader-flowkey - sponsored by flowkey
- - - - -
Make sure to subscribe for more Synthesia videos like this one!
- published: 09 Mar 2016
- views: 161538
developed with YouTube
A-flat
A-flat may refer to:
- A scale based on A-flat, such as A-flat major or A-flat minor
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/A-flat
A♭ (musical note)
A♭ (A-flat; also called la bémol) is the ninth semitone of the solfège.
It lies a diatonic semitone above G and a chromatic semitone below A, thus being enharmonic to G♯, although in some musical tunings, A♭ will have a different sounding pitch than G♯.
When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the A♭ above middle C (or A♭4) is approximately 415.305 Hz. See pitch (music) for a discussion of historical variations in frequency.
Designation by octave
Scales
Common scales beginning on A♭
Diatonic scales
C♭ D♭ E♭ F♭ G♭ A♭
C♭ D♭ E F♭ G♭ A♭
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/A♭_(musical_note)
A-flat major
The A-flat major scale (A♭ major scale) consists of the pitches A♭, B♭, C, D♭, E♭, F, and G. Its key signature has four flats.
Its relative minor is F minor, and its parallel minor is A-flat minor, usually replaced by G-sharp minor, since A-flat minor features 7 flats in its key signature & G-sharp minor only has 5 sharps, making it rare for A-flat minor to be used, with a similar problem to that of G-sharp major.
It was used quite often by Franz Schubert; twenty-four of Frédéric Chopin's piano pieces are in A-flat major, more than any other key.
Compositions in A-flat major
Beethoven chose A-flat major as the key of the slow movement for most of his C minor works, a practice which Anton Bruckner imitated in his first two C minor symphonies and also Antonín Dvořák in his only C minor symphony.
Since A-flat major was not often chosen as the main key for orchestral works of the 18th century, passages or movements in the key often retained the timpani settings of the preceding movement. For example, Beethoven's Symphony No. 5 in C minor has the timpani set to C and G for the first movement. With hand tuned timpani, there is no time to retune the timpani to A-flat and E-flat for the slow second movement in A-flat; accordingly, the timpani in this movement are reserved for the passages in C major. In Bruckner's Symphony No. 1 in C minor, however, the timpani are retuned between the first movement in C minor and the following in A-flat major.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/A-flat_major
Nassar
Nassar (also spelled Nasser, Naasar) is an Indian film actor, director and producer, who mainly works in the South Indian film industry. He is the incumbent president of the Nadigar Sangam.
Early life and education
Nassar was born on 5 March 1958 to Mehaboob Basha and Mumtaz in Chengalpattu, Tamil Nadu. He studied in St. Joseph's Higher Secondary School (Chengalpattu). He moved to Chennai (then Madras) after school, where he finished his pre-university at Madras Christian College. At Madras Christian College, he was an active member of the Dramatic Society. Later for a brief time, he worked in the Indian Air Force. He trained in two acting schools: the South Indian Film Chamber of Commerce's Film Institute and the Tamil Nadu Institute for Film and Television Technology.
Career
Nassar made his acting debut in K. Balachander's Kalyana Agathigal (1985) portraying a secondary supporting role, before moving on to play villainous roles in S. P. Muthuraman's Velaikaran (1987) and Vanna Kanavugal. He played the protagonist in Yuhi Sethu's Kavithai Paada Neramillai, though his breakthrough role came through his performance as a police officer in Mani Ratnam's Nayakan. He subsequently became a regular in Mani Ratnam and Kamal Haasan's ventures, \appearing in pivotal character roles in Roja, Thevar Magan (1992), Bombay (1994) and Kuruthipunal (1995).
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Nassar
-
Major Scales: How to Play A Flat Major Scale on Piano (Right and Left hand)
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
published: 02 Jun 2013 -
A Flat Major Chords | A Flat Piano Chord | Gospel Piano | Beginner | Intermediate | Advanced
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ear. Study these contemporary voicings to add flavor to your playing and to expand your piano chord vocabulary. In this lesson, you will be taught chord options for each tone of the a flat major scale. #A flat major scale #a flat major #a flat major key signature #a flat piano chord #piano a flat chord #jazz chord progressions #jazz chord progressions piano #Piano chords that sound good together #piano chords online #piano chords songs #piano chords #church piano songs #Christian piano player #piano chords for hymns #Norfolk piano lessons Norfolk #play gospel piano #Norfolk learn to play gospel piano #Norfolk praise piano music #Norfolk notes for piano #piano tutorial #piano tutorial #advanced piano ...
published: 25 Oct 2020 -
Chopin Nocturne Op. 32 No. 2 in A-flat Major
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein. This piece has performance notes written by Dr. Theodor Kullak, German composer. I do not know that Rubinstein performed based on these notes, but the score I used includes them, so you can read them if you're interested. (The letters in the score correspond to letters in the notes.) "After a short prelude 'A', at 'B' begins the nocturne proper, which consists of a chief subject 'B'-'C', and a secondary subject 'C'-'E'. The latter is followed by the repitition of the chief subject. "The chief subject 'B'-'C' (two-part song-form) reminds one in point of mood and coloring, of the preceding nocturne (Op.32 No.1). The secondary subject 'C'-'E' is more animated in style, and, at its transposition from F minor to F s...
published: 15 Jan 2012 -
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
Chopin - Heroic Polonaise (Op. 53 in A Flat Major) Click the 🔔bell to always be notified on new uploads! ♫ Listen on Spotify: http://spoti.fi/2LdpqK7 ♫ Instagram: http://bit.ly/rousseauig ♫ Twitter: http://bit.ly/rousseautw ♫ Sheet music: https://patreon.com/rousseau ♫ MIDI: https://patreon.com/rousseau ♫ Facebook: http://bit.ly/rousseaufb ♫ Buy me a coffee: http://buymeacoff.ee/rousseau ♫ Join me on discord: http://bit.ly/RousseauDiscord Hope you enjoy my performance of Chopin's Heroic Polonaise. Outro: Liszt - Hungarian Rhapsody No. 2 Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday! #Rousseau #Piano #PianoCover
published: 28 Nov 2019 -
A Flat Major Scale on Piano
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both hands separately and together one octave. Piano Guitar & Violin Lessons Somerset Academy of Music www.somersetacademyofmusic.com 513-683-9277
published: 05 Apr 2020 -
A flat Major Scale For Piano
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave. Then, two hands, two octaves. Try it playing quarter-notes, and then eighth-notes, and then sixteenths.
published: 23 Jan 2013 -
Beethoven: Sonata No.31 in A-flat Major (Ashkenazy)
Movement I: 00:00 Movement II: 06:40 Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inversion): 18:00] The sunniest of Beethoven's great late sonatas, and one that contains some beautiful and beautifully deployed fugal writing (note the complexity of some of the augmentation/diminution used -- see 18:35 -- and that the fugue subject is derived very directly from the opening phrase of the first movement). It is interesting to note how different the fugal writing here is from that deployed in the Hammerklavier, No.29. Here the fugal writing is very strict, with the relatively meek exception of some doubling in the bass, but in the Hammerklavier the huge fugue includes some truly daring departures from the rules. This is also the only late sonata which seems to have real humour in it (...
published: 06 Jun 2014 -
"A" Flat Major Piano Scale - Piano Scale Lessons
The easiest way to learn piano chords: ►https://www.pianote.com/chord-hacks Sign up for FREE piano lessons at: http://www.PianoLessons.com . Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano! . For More Resources Check Out: - http://pianolessons.com/piano-lessons/a-flat-major-scale.php
published: 31 Aug 2009 -
Beethoven: Sonata No.31 in A-flat Major, Op.110 (Lortie, Siirala, Kovacevich)
The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of all 32. Why? Well, to start with the obvious: In a late sonata, where you’d expect ambiguity, radical structural innovation, gnarled counterpoint – a conventional 1st movement, with a theme so simple and unadorned [0:18] its only warrant, really, is its beauty. The development is not just simple but consciously minimalist, and the shift to and from E Maj in the recapitulation [3:36; 4:09] is exquisitely beautiful. There is also the structural tightness of the sonata. The opening bars of the sonata become the subject of the first fugue in the last movement, and, in an inverted form, the subject of the second fugue also. The opening phrase of the 2nd movement scherzo [6:24] also becomes transformed in...
published: 06 Feb 2017 -
Waltz in A-flat major, Op. 39 No. 15 // BRAHMS
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Waltzes Op. 39 ♫ Learn piano with the songs you love: http://tinyurl.com/pianoreader-flowkey - sponsored by flowkey - - - - - Make sure to subscribe for more Synthesia videos like this one!
published: 09 Mar 2016
developed with YouTube
3:11
Major Scales: How to Play A Flat Major Scale on Piano (Right and Left hand)
- Order: Reorder
- Duration: 3:11
- Uploaded Date: 02 Jun 2013
- views: 38280
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
https://wn.com/Major_Scales_How_To_Play_A_Flat_Major_Scale_On_Piano_(Right_And_Left_Hand)
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
- published: 02 Jun 2013
- views: 38280
21:23
A Flat Major Chords | A Flat Piano Chord | Gospel Piano | Beginner | Intermediate | Advanced
- Order: Reorder
- Duration: 21:23
- Uploaded Date: 25 Oct 2020
- views: 6238
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ear. Study these contemporary voicings to add flavor to your playing an...
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ear. Study these contemporary voicings to add flavor to your playing and to expand your piano chord vocabulary. In this lesson, you will be taught chord options for each tone of the a flat major scale.
#A flat major scale #a flat major #a flat major key signature #a flat piano chord #piano a flat chord #jazz chord progressions #jazz chord progressions piano #Piano chords that sound good together #piano chords online #piano chords songs #piano chords #church piano songs #Christian piano player #piano chords for hymns #Norfolk piano lessons Norfolk #play gospel piano #Norfolk learn to play gospel piano #Norfolk praise piano music #Norfolk notes for piano #piano tutorial #piano tutorial #advanced piano tutorial #beginner piano tutorial #gospel
https://wn.com/A_Flat_Major_Chords_|_A_Flat_Piano_Chord_|_Gospel_Piano_|_Beginner_|_Intermediate_|_Advanced
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ear. Study these contemporary voicings to add flavor to your playing and to expand your piano chord vocabulary. In this lesson, you will be taught chord options for each tone of the a flat major scale.
#A flat major scale #a flat major #a flat major key signature #a flat piano chord #piano a flat chord #jazz chord progressions #jazz chord progressions piano #Piano chords that sound good together #piano chords online #piano chords songs #piano chords #church piano songs #Christian piano player #piano chords for hymns #Norfolk piano lessons Norfolk #play gospel piano #Norfolk learn to play gospel piano #Norfolk praise piano music #Norfolk notes for piano #piano tutorial #piano tutorial #advanced piano tutorial #beginner piano tutorial #gospel
- published: 25 Oct 2020
- views: 6238
6:51
Chopin Nocturne Op. 32 No. 2 in A-flat Major
- Order: Reorder
- Duration: 6:51
- Uploaded Date: 15 Jan 2012
- views: 519557
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein.
This piece has performance notes written by Dr. Theodor Kullak, German composer. I ...
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein.
This piece has performance notes written by Dr. Theodor Kullak, German composer. I do not know that Rubinstein performed based on these notes, but the score I used includes them, so you can read them if you're interested. (The letters in the score correspond to letters in the notes.)
"After a short prelude 'A', at 'B' begins the nocturne proper, which consists of a chief subject 'B'-'C', and a secondary subject 'C'-'E'. The latter is followed by the repitition of the chief subject.
"The chief subject 'B'-'C' (two-part song-form) reminds one in point of mood and coloring, of the preceding nocturne (Op.32 No.1). The secondary subject 'C'-'E' is more animated in style, and, at its transposition from F minor to F sharp minor at 'D' it assumes so passionate a character that even the chief subject, when it reappears at 'E', continues for a while in a state of stormy excitement (appassionato) and only by degrees recovers its dreamy repose. The same prelude which introduces the nocturne also forms the coda proper."
Performance Notes Copyright G. Schirmer, 1881.
Rubinstein's recording ©1999 RCA Red Seal, now Sony Entertainment.
---
Chopin Nocturne op. 32 No. 2 su A-flat Major. Interpretato da Arthur Rubinstein.
Questo brano ha note di prestazioni scritte da Dr. Theodor Kullak, compositore tedesco. Non so che Rubinstein effettuata sulla base di queste note, ma lo spartito che ho usato li include, in modo da poterli leggere se siete interessati. (Le lettere nello spartito corrispondono alle lettere nelle note.)
"Dopo un breve preludio 'A', a 'B' inizia la propria notturno, che consiste di un soggetto capo 'B'-' C ', e un soggetto secondario' C '-' E '. Quest'ultimo è seguito dalla ripetizione del soggetto principale.
"Il soggetto principale 'B'-' C '(in due parti sotto forma di canzone) ricorda al punto di umore e di colorazione, del notturno precedente (Op.32 N ° 1). Il soggetto secondario 'C'-'E' è più animata nello stile, e, al sua trasposizione da F minore a Fa diesis minore a 'D' assume un carattere così appassionato che anche il principale oggetto, quando riappare a 'E', prosegue per un po' in uno stato tempesta di eccitazione (appassionato) e solo a poco a poco ritrova la sua quiete sognante. Il preludio stessa che introduce il notturno costituisce anche la propria coda."
Note prestazioni sono Copyright G. Schirmer, 1881.
Registrazione di Rubinstein © 1999 RCA Red Seal, ora Sony Entertainment.
https://wn.com/Chopin_Nocturne_Op._32_No._2_In_A_Flat_Major
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein.
This piece has performance notes written by Dr. Theodor Kullak, German composer. I do not know that Rubinstein performed based on these notes, but the score I used includes them, so you can read them if you're interested. (The letters in the score correspond to letters in the notes.)
"After a short prelude 'A', at 'B' begins the nocturne proper, which consists of a chief subject 'B'-'C', and a secondary subject 'C'-'E'. The latter is followed by the repitition of the chief subject.
"The chief subject 'B'-'C' (two-part song-form) reminds one in point of mood and coloring, of the preceding nocturne (Op.32 No.1). The secondary subject 'C'-'E' is more animated in style, and, at its transposition from F minor to F sharp minor at 'D' it assumes so passionate a character that even the chief subject, when it reappears at 'E', continues for a while in a state of stormy excitement (appassionato) and only by degrees recovers its dreamy repose. The same prelude which introduces the nocturne also forms the coda proper."
Performance Notes Copyright G. Schirmer, 1881.
Rubinstein's recording ©1999 RCA Red Seal, now Sony Entertainment.
---
Chopin Nocturne op. 32 No. 2 su A-flat Major. Interpretato da Arthur Rubinstein.
Questo brano ha note di prestazioni scritte da Dr. Theodor Kullak, compositore tedesco. Non so che Rubinstein effettuata sulla base di queste note, ma lo spartito che ho usato li include, in modo da poterli leggere se siete interessati. (Le lettere nello spartito corrispondono alle lettere nelle note.)
"Dopo un breve preludio 'A', a 'B' inizia la propria notturno, che consiste di un soggetto capo 'B'-' C ', e un soggetto secondario' C '-' E '. Quest'ultimo è seguito dalla ripetizione del soggetto principale.
"Il soggetto principale 'B'-' C '(in due parti sotto forma di canzone) ricorda al punto di umore e di colorazione, del notturno precedente (Op.32 N ° 1). Il soggetto secondario 'C'-'E' è più animata nello stile, e, al sua trasposizione da F minore a Fa diesis minore a 'D' assume un carattere così appassionato che anche il principale oggetto, quando riappare a 'E', prosegue per un po' in uno stato tempesta di eccitazione (appassionato) e solo a poco a poco ritrova la sua quiete sognante. Il preludio stessa che introduce il notturno costituisce anche la propria coda."
Note prestazioni sono Copyright G. Schirmer, 1881.
Registrazione di Rubinstein © 1999 RCA Red Seal, ora Sony Entertainment.
- published: 15 Jan 2012
- views: 519557
7:16
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
- Order: Reorder
- Duration: 7:16
- Uploaded Date: 28 Nov 2019
- views: 3466733
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
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♫ Instagra...
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
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Hope you enjoy my performance of Chopin's Heroic Polonaise.
Outro: Liszt - Hungarian Rhapsody No. 2
Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!
#Rousseau #Piano #PianoCover
https://wn.com/Chopin_Heroic_Polonaise_(Op._53_In_A_Flat_Major)
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
Click the 🔔bell to always be notified on new uploads!
♫ Listen on Spotify: http://spoti.fi/2LdpqK7
♫ Instagram: http://bit.ly/rousseauig
♫ Twitter: http://bit.ly/rousseautw
♫ Sheet music: https://patreon.com/rousseau
♫ MIDI: https://patreon.com/rousseau
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♫ Buy me a coffee: http://buymeacoff.ee/rousseau
♫ Join me on discord: http://bit.ly/RousseauDiscord
Hope you enjoy my performance of Chopin's Heroic Polonaise.
Outro: Liszt - Hungarian Rhapsody No. 2
Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!
#Rousseau #Piano #PianoCover
- published: 28 Nov 2019
- views: 3466733
6:48
A Flat Major Scale on Piano
- Order: Reorder
- Duration: 6:48
- Uploaded Date: 05 Apr 2020
- views: 854
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both hands separately and together one octave.
Piano Guitar & Violin Less...
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both hands separately and together one octave.
Piano Guitar & Violin Lessons
Somerset Academy of Music
www.somersetacademyofmusic.com
513-683-9277
https://wn.com/A_Flat_Major_Scale_On_Piano
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both hands separately and together one octave.
Piano Guitar & Violin Lessons
Somerset Academy of Music
www.somersetacademyofmusic.com
513-683-9277
- published: 05 Apr 2020
- views: 854
1:35
A flat Major Scale For Piano
- Order: Reorder
- Duration: 1:35
- Uploaded Date: 23 Jan 2013
- views: 14851
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave. Then, two hands, two octaves. Try it playing quarter-notes, and th...
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave. Then, two hands, two octaves. Try it playing quarter-notes, and then eighth-notes, and then sixteenths.
https://wn.com/A_Flat_Major_Scale_For_Piano
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave. Then, two hands, two octaves. Try it playing quarter-notes, and then eighth-notes, and then sixteenths.
- published: 23 Jan 2013
- views: 14851
20:21
Beethoven: Sonata No.31 in A-flat Major (Ashkenazy)
- Order: Reorder
- Duration: 20:21
- Uploaded Date: 06 Jun 2014
- views: 289573
Movement I: 00:00
Movement II: 06:40
Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inversion): 18:00]
The sunniest of Beethoven's great late sonatas, and o...
Movement I: 00:00
Movement II: 06:40
Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inversion): 18:00]
The sunniest of Beethoven's great late sonatas, and one that contains some beautiful and beautifully deployed fugal writing (note the complexity of some of the augmentation/diminution used -- see 18:35 -- and that the fugue subject is derived very directly from the opening phrase of the first movement).
It is interesting to note how different the fugal writing here is from that deployed in the Hammerklavier, No.29. Here the fugal writing is very strict, with the relatively meek exception of some doubling in the bass, but in the Hammerklavier the huge fugue includes some truly daring departures from the rules.
This is also the only late sonata which seems to have real humour in it (in the second movement).
Ashkenazy plays the first movement with incredible tenderness, and (thankfully) takes the fugal sections of the third movement with a speed that imbues with with prayerlike, reverential clarity.
https://wn.com/Beethoven_Sonata_No.31_In_A_Flat_Major_(Ashkenazy)
Movement I: 00:00
Movement II: 06:40
Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inversion): 18:00]
The sunniest of Beethoven's great late sonatas, and one that contains some beautiful and beautifully deployed fugal writing (note the complexity of some of the augmentation/diminution used -- see 18:35 -- and that the fugue subject is derived very directly from the opening phrase of the first movement).
It is interesting to note how different the fugal writing here is from that deployed in the Hammerklavier, No.29. Here the fugal writing is very strict, with the relatively meek exception of some doubling in the bass, but in the Hammerklavier the huge fugue includes some truly daring departures from the rules.
This is also the only late sonata which seems to have real humour in it (in the second movement).
Ashkenazy plays the first movement with incredible tenderness, and (thankfully) takes the fugal sections of the third movement with a speed that imbues with with prayerlike, reverential clarity.
- published: 06 Jun 2014
- views: 289573
1:44
"A" Flat Major Piano Scale - Piano Scale Lessons
- Order: Reorder
- Duration: 1:44
- Uploaded Date: 31 Aug 2009
- views: 129595
The easiest way to learn piano chords:
►https://www.pianote.com/chord-hacks
Sign up for FREE piano lessons at: http://www.PianoLessons.com
.
Learn how to pla...
The easiest way to learn piano chords:
►https://www.pianote.com/chord-hacks
Sign up for FREE piano lessons at: http://www.PianoLessons.com
.
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
.
For More Resources Check Out:
- http://pianolessons.com/piano-lessons/a-flat-major-scale.php
https://wn.com/A_Flat_Major_Piano_Scale_Piano_Scale_Lessons
The easiest way to learn piano chords:
►https://www.pianote.com/chord-hacks
Sign up for FREE piano lessons at: http://www.PianoLessons.com
.
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
.
For More Resources Check Out:
- http://pianolessons.com/piano-lessons/a-flat-major-scale.php
- published: 31 Aug 2009
- views: 129595
59:05
Beethoven: Sonata No.31 in A-flat Major, Op.110 (Lortie, Siirala, Kovacevich)
- Order: Reorder
- Duration: 59:05
- Uploaded Date: 06 Feb 2017
- views: 362932
The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of all 32.
Why? Well, to start with the obvious: In a late sonata, where...
The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of all 32.
Why? Well, to start with the obvious: In a late sonata, where you’d expect ambiguity, radical structural innovation, gnarled counterpoint – a conventional 1st movement, with a theme so simple and unadorned [0:18] its only warrant, really, is its beauty. The development is not just simple but consciously minimalist, and the shift to and from E Maj in the recapitulation [3:36; 4:09] is exquisitely beautiful.
There is also the structural tightness of the sonata. The opening bars of the sonata become the subject of the first fugue in the last movement, and, in an inverted form, the subject of the second fugue also. The opening phrase of the 2nd movement scherzo [6:24] also becomes transformed into the arioso of the final movement [10:26]. So Beethoven does not just shift the focus of the sonata form from first movement to last, or even use the final movement to unify the other two – in this sonata, the final movement is where the themes presented in other two really take flight, and the final movement is almost entirely built around material already presented.
Also, that last movement. It features the most sophisticated use of counterpoint of all 32 sonatas: not because the contrapuntal writing is ingenious (which it is, but Sonatas No.28 + 29 have got that too), but because the counterpoint is used (maybe for the first time in musical history) as part of a dramatic narrative. The final movement is basically a struggle between the arioso theme, which is not merely sad but crushingly hopeless (dolente = painful, aching, ermattet = exhausted) to the point of its literally breaking up the second time it’s presented, and the fugue, which radiates an inner strength and consolation.
In the end, the fugue wins, but in an extraordinary way. The second fugue does not merely achieve a triumphant shape: it burns itself out of existence. As the texture thickens and intensifies with inversions and simultaneous presentations of augmentations and diminuitions [57:30], suddenly there are just two voices duelling in ecstasy [57:53, with the shift to 2 voices at 58:05], incessantly reaching higher, and then suddenly there is just one voice, the main theme pouring out in a great chorale [58:19]. It’s my favourite moment in all the 32 sonatas – a theme that leaps out of its own chasm of counterpoint, and when finally freed rings with a kind of joy which should be impossible after the arioso but somehow isn’t. And because the fugue theme is really the opening bars of the entire sonata, the sonata has an open-ended, cyclic form, with the basic movement over the entire piece being from lyricism (the opening) to hope (the final bars).
MVT I
EXPOSITION
00:00 – Theme 1
00:41 – Transition (a highly abstracted form of the melody that just preceded it)
01:05 – Theme (Group) 2
02:12 –DEVELOPMENT (Note how compressed it is, and how reliant on counterpoint)
03:03 – RECAPITULATION (Theme 1 is combined with the Transition theme in the LH)
05:59 – CODA
MVT II
06:24 – Scherzo
07:04 – Trio (Cleverly constructed out of large upward leaps and downward descents: Beethoven’s manuscript shows he struggled a lot working out of figuration of this section)
07:31 – Scherzo
08:13 – CODA/transition
MVT III
08:30 – INTRODUCTION
10:26 – ARIOSO (the melody is built from the downward gesture that opens the scherzo)
12:52 – FUGA I (The fugue subject is built from an ascending chain of fourths, and is derived from the sonata’s opening phrase. The countersubject is built from a descending chain of fourths.)
15:13 – ARIOSO (note how the melody is broken up, “sobbing”)
18:00 – FUGA II (The fugue subject is a straightforward inversion of the first fugue’s subject. If there was any doubt about the narrative structure of this movement Beethoven has marked this section wieder auflebend = again reviving, poi a poi di nuovo vivente = little by little with renewed vigour)
18:23 – The subject of the first fugue enters the fray in the lowest voice, in diminished form and with a different rhythmic emphasis. Immediately after, the first fugue subject also enters in the top voice, but this time in augmented form.
18:48 – A double diminuition of the first fugue subject is introduced, with a relaxing of the tempo which generates the effect of a gradual *increase* in tempo
18:53 – The subject of the second fugue enters in middle voice.
19:01 – The subject of the first fugue enters in bass. Effectively two voices left. The double diminuition becomes transformed into a decorative figure in RH.
19:15 – FINALE: Homophonic chorale. The theme escapes.
https://wn.com/Beethoven_Sonata_No.31_In_A_Flat_Major,_Op.110_(Lortie,_Siirala,_Kovacevich)
The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of all 32.
Why? Well, to start with the obvious: In a late sonata, where you’d expect ambiguity, radical structural innovation, gnarled counterpoint – a conventional 1st movement, with a theme so simple and unadorned [0:18] its only warrant, really, is its beauty. The development is not just simple but consciously minimalist, and the shift to and from E Maj in the recapitulation [3:36; 4:09] is exquisitely beautiful.
There is also the structural tightness of the sonata. The opening bars of the sonata become the subject of the first fugue in the last movement, and, in an inverted form, the subject of the second fugue also. The opening phrase of the 2nd movement scherzo [6:24] also becomes transformed into the arioso of the final movement [10:26]. So Beethoven does not just shift the focus of the sonata form from first movement to last, or even use the final movement to unify the other two – in this sonata, the final movement is where the themes presented in other two really take flight, and the final movement is almost entirely built around material already presented.
Also, that last movement. It features the most sophisticated use of counterpoint of all 32 sonatas: not because the contrapuntal writing is ingenious (which it is, but Sonatas No.28 + 29 have got that too), but because the counterpoint is used (maybe for the first time in musical history) as part of a dramatic narrative. The final movement is basically a struggle between the arioso theme, which is not merely sad but crushingly hopeless (dolente = painful, aching, ermattet = exhausted) to the point of its literally breaking up the second time it’s presented, and the fugue, which radiates an inner strength and consolation.
In the end, the fugue wins, but in an extraordinary way. The second fugue does not merely achieve a triumphant shape: it burns itself out of existence. As the texture thickens and intensifies with inversions and simultaneous presentations of augmentations and diminuitions [57:30], suddenly there are just two voices duelling in ecstasy [57:53, with the shift to 2 voices at 58:05], incessantly reaching higher, and then suddenly there is just one voice, the main theme pouring out in a great chorale [58:19]. It’s my favourite moment in all the 32 sonatas – a theme that leaps out of its own chasm of counterpoint, and when finally freed rings with a kind of joy which should be impossible after the arioso but somehow isn’t. And because the fugue theme is really the opening bars of the entire sonata, the sonata has an open-ended, cyclic form, with the basic movement over the entire piece being from lyricism (the opening) to hope (the final bars).
MVT I
EXPOSITION
00:00 – Theme 1
00:41 – Transition (a highly abstracted form of the melody that just preceded it)
01:05 – Theme (Group) 2
02:12 –DEVELOPMENT (Note how compressed it is, and how reliant on counterpoint)
03:03 – RECAPITULATION (Theme 1 is combined with the Transition theme in the LH)
05:59 – CODA
MVT II
06:24 – Scherzo
07:04 – Trio (Cleverly constructed out of large upward leaps and downward descents: Beethoven’s manuscript shows he struggled a lot working out of figuration of this section)
07:31 – Scherzo
08:13 – CODA/transition
MVT III
08:30 – INTRODUCTION
10:26 – ARIOSO (the melody is built from the downward gesture that opens the scherzo)
12:52 – FUGA I (The fugue subject is built from an ascending chain of fourths, and is derived from the sonata’s opening phrase. The countersubject is built from a descending chain of fourths.)
15:13 – ARIOSO (note how the melody is broken up, “sobbing”)
18:00 – FUGA II (The fugue subject is a straightforward inversion of the first fugue’s subject. If there was any doubt about the narrative structure of this movement Beethoven has marked this section wieder auflebend = again reviving, poi a poi di nuovo vivente = little by little with renewed vigour)
18:23 – The subject of the first fugue enters the fray in the lowest voice, in diminished form and with a different rhythmic emphasis. Immediately after, the first fugue subject also enters in the top voice, but this time in augmented form.
18:48 – A double diminuition of the first fugue subject is introduced, with a relaxing of the tempo which generates the effect of a gradual *increase* in tempo
18:53 – The subject of the second fugue enters in middle voice.
19:01 – The subject of the first fugue enters in bass. Effectively two voices left. The double diminuition becomes transformed into a decorative figure in RH.
19:15 – FINALE: Homophonic chorale. The theme escapes.
- published: 06 Feb 2017
- views: 362932
1:53
Waltz in A-flat major, Op. 39 No. 15 // BRAHMS
- Order: Reorder
- Duration: 1:53
- Uploaded Date: 09 Mar 2016
- views: 161538
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Waltzes Op. 39
♫ Learn piano with the songs you love: http://tinyurl.com/...
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Waltzes Op. 39
♫ Learn piano with the songs you love: http://tinyurl.com/pianoreader-flowkey - sponsored by flowkey
- - - - -
Make sure to subscribe for more Synthesia videos like this one!
https://wn.com/Waltz_In_A_Flat_Major,_Op._39_No._15_Brahms
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Waltzes Op. 39
♫ Learn piano with the songs you love: http://tinyurl.com/pianoreader-flowkey - sponsored by flowkey
- - - - -
Make sure to subscribe for more Synthesia videos like this one!
- published: 09 Mar 2016
- views: 161538
3:11
Major Scales: How to Play A Flat Major Scale on Piano (Right and Left hand)
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on t...
published: 02 Jun 2013
Major Scales: How to Play A Flat Major Scale on Piano (Right and Left hand)
Major Scales: How to Play A Flat Major Scale on Piano (Right and Left hand)
- Report rights infringement
- published: 02 Jun 2013
- views: 38280
Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
21:23
A Flat Major Chords | A Flat Piano Chord | Gospel Piano | Beginner | Intermediate | Advanced
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ea...
published: 25 Oct 2020
A Flat Major Chords | A Flat Piano Chord | Gospel Piano | Beginner | Intermediate | Advanced
A Flat Major Chords | A Flat Piano Chord | Gospel Piano | Beginner | Intermediate | Advanced
- Report rights infringement
- published: 25 Oct 2020
- views: 6238
A Flat Major Chords are a must-have if you want to learn to play gospel piano music by ear. Study these contemporary voicings to add flavor to your playing and to expand your piano chord vocabulary. In this lesson, you will be taught chord options for each tone of the a flat major scale.
#A flat major scale #a flat major #a flat major key signature #a flat piano chord #piano a flat chord #jazz chord progressions #jazz chord progressions piano #Piano chords that sound good together #piano chords online #piano chords songs #piano chords #church piano songs #Christian piano player #piano chords for hymns #Norfolk piano lessons Norfolk #play gospel piano #Norfolk learn to play gospel piano #Norfolk praise piano music #Norfolk notes for piano #piano tutorial #piano tutorial #advanced piano tutorial #beginner piano tutorial #gospel
6:51
Chopin Nocturne Op. 32 No. 2 in A-flat Major
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein.
This piece ha...
published: 15 Jan 2012
Chopin Nocturne Op. 32 No. 2 in A-flat Major
Chopin Nocturne Op. 32 No. 2 in A-flat Major
- Report rights infringement
- published: 15 Jan 2012
- views: 519557
Chopin Nocturne Op. 32 No. 2 in A-flat Major. Played by Arthur Rubinstein.
This piece has performance notes written by Dr. Theodor Kullak, German composer. I do not know that Rubinstein performed based on these notes, but the score I used includes them, so you can read them if you're interested. (The letters in the score correspond to letters in the notes.)
"After a short prelude 'A', at 'B' begins the nocturne proper, which consists of a chief subject 'B'-'C', and a secondary subject 'C'-'E'. The latter is followed by the repitition of the chief subject.
"The chief subject 'B'-'C' (two-part song-form) reminds one in point of mood and coloring, of the preceding nocturne (Op.32 No.1). The secondary subject 'C'-'E' is more animated in style, and, at its transposition from F minor to F sharp minor at 'D' it assumes so passionate a character that even the chief subject, when it reappears at 'E', continues for a while in a state of stormy excitement (appassionato) and only by degrees recovers its dreamy repose. The same prelude which introduces the nocturne also forms the coda proper."
Performance Notes Copyright G. Schirmer, 1881.
Rubinstein's recording ©1999 RCA Red Seal, now Sony Entertainment.
---
Chopin Nocturne op. 32 No. 2 su A-flat Major. Interpretato da Arthur Rubinstein.
Questo brano ha note di prestazioni scritte da Dr. Theodor Kullak, compositore tedesco. Non so che Rubinstein effettuata sulla base di queste note, ma lo spartito che ho usato li include, in modo da poterli leggere se siete interessati. (Le lettere nello spartito corrispondono alle lettere nelle note.)
"Dopo un breve preludio 'A', a 'B' inizia la propria notturno, che consiste di un soggetto capo 'B'-' C ', e un soggetto secondario' C '-' E '. Quest'ultimo è seguito dalla ripetizione del soggetto principale.
"Il soggetto principale 'B'-' C '(in due parti sotto forma di canzone) ricorda al punto di umore e di colorazione, del notturno precedente (Op.32 N ° 1). Il soggetto secondario 'C'-'E' è più animata nello stile, e, al sua trasposizione da F minore a Fa diesis minore a 'D' assume un carattere così appassionato che anche il principale oggetto, quando riappare a 'E', prosegue per un po' in uno stato tempesta di eccitazione (appassionato) e solo a poco a poco ritrova la sua quiete sognante. Il preludio stessa che introduce il notturno costituisce anche la propria coda."
Note prestazioni sono Copyright G. Schirmer, 1881.
Registrazione di Rubinstein © 1999 RCA Red Seal, ora Sony Entertainment.
7:16
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
Click the 🔔bell to always be notified o...
published: 28 Nov 2019
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
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- published: 28 Nov 2019
- views: 3466733
Chopin - Heroic Polonaise (Op. 53 in A Flat Major)
Click the 🔔bell to always be notified on new uploads!
♫ Listen on Spotify: http://spoti.fi/2LdpqK7
♫ Instagram: http://bit.ly/rousseauig
♫ Twitter: http://bit.ly/rousseautw
♫ Sheet music: https://patreon.com/rousseau
♫ MIDI: https://patreon.com/rousseau
♫ Facebook: http://bit.ly/rousseaufb
♫ Buy me a coffee: http://buymeacoff.ee/rousseau
♫ Join me on discord: http://bit.ly/RousseauDiscord
Hope you enjoy my performance of Chopin's Heroic Polonaise.
Outro: Liszt - Hungarian Rhapsody No. 2
Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!
#Rousseau #Piano #PianoCover
6:48
A Flat Major Scale on Piano
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both...
published: 05 Apr 2020
A Flat Major Scale on Piano
A Flat Major Scale on Piano
- Report rights infringement
- published: 05 Apr 2020
- views: 854
Piano teacher Miss Jenifer shows you how to play the Ab Major Scale on the piano with both hands separately and together one octave.
Piano Guitar & Violin Lessons
Somerset Academy of Music
www.somersetacademyofmusic.com
513-683-9277
1:35
A flat Major Scale For Piano
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave...
published: 23 Jan 2013
A flat Major Scale For Piano
A flat Major Scale For Piano
- Report rights infringement
- published: 23 Jan 2013
- views: 14851
A Basic demonstration of the A-flat Major Scale on the piano. First, one hand, one octave. Then, two hands, two octaves. Try it playing quarter-notes, and then eighth-notes, and then sixteenths.
20:21
Beethoven: Sonata No.31 in A-flat Major (Ashkenazy)
Movement I: 00:00
Movement II: 06:40
Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inv...
published: 06 Jun 2014
Beethoven: Sonata No.31 in A-flat Major (Ashkenazy)
Beethoven: Sonata No.31 in A-flat Major (Ashkenazy)
- Report rights infringement
- published: 06 Jun 2014
- views: 289573
Movement I: 00:00
Movement II: 06:40
Movement III*: 08:55 [Fugue I: 12:55 -- Fugue II (inversion): 18:00]
The sunniest of Beethoven's great late sonatas, and one that contains some beautiful and beautifully deployed fugal writing (note the complexity of some of the augmentation/diminution used -- see 18:35 -- and that the fugue subject is derived very directly from the opening phrase of the first movement).
It is interesting to note how different the fugal writing here is from that deployed in the Hammerklavier, No.29. Here the fugal writing is very strict, with the relatively meek exception of some doubling in the bass, but in the Hammerklavier the huge fugue includes some truly daring departures from the rules.
This is also the only late sonata which seems to have real humour in it (in the second movement).
Ashkenazy plays the first movement with incredible tenderness, and (thankfully) takes the fugal sections of the third movement with a speed that imbues with with prayerlike, reverential clarity.
1:44
"A" Flat Major Piano Scale - Piano Scale Lessons
The easiest way to learn piano chords:
►https://www.pianote.com/chord-hacks
Sign up for F...
published: 31 Aug 2009
"A" Flat Major Piano Scale - Piano Scale Lessons
"A" Flat Major Piano Scale - Piano Scale Lessons
- Report rights infringement
- published: 31 Aug 2009
- views: 129595
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Learn how to play the major scale in A flat in this piano lesson. Learning the scales on the piano is important for when you're creating parts on piano!
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59:05
Beethoven: Sonata No.31 in A-flat Major, Op.110 (Lortie, Siirala, Kovacevich)
The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of a...
published: 06 Feb 2017
Beethoven: Sonata No.31 in A-flat Major, Op.110 (Lortie, Siirala, Kovacevich)
Beethoven: Sonata No.31 in A-flat Major, Op.110 (Lortie, Siirala, Kovacevich)
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- published: 06 Feb 2017
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The most warmly lyrical of all of Beethoven’s late sonatas, and probably my favourite of all 32.
Why? Well, to start with the obvious: In a late sonata, where you’d expect ambiguity, radical structural innovation, gnarled counterpoint – a conventional 1st movement, with a theme so simple and unadorned [0:18] its only warrant, really, is its beauty. The development is not just simple but consciously minimalist, and the shift to and from E Maj in the recapitulation [3:36; 4:09] is exquisitely beautiful.
There is also the structural tightness of the sonata. The opening bars of the sonata become the subject of the first fugue in the last movement, and, in an inverted form, the subject of the second fugue also. The opening phrase of the 2nd movement scherzo [6:24] also becomes transformed into the arioso of the final movement [10:26]. So Beethoven does not just shift the focus of the sonata form from first movement to last, or even use the final movement to unify the other two – in this sonata, the final movement is where the themes presented in other two really take flight, and the final movement is almost entirely built around material already presented.
Also, that last movement. It features the most sophisticated use of counterpoint of all 32 sonatas: not because the contrapuntal writing is ingenious (which it is, but Sonatas No.28 + 29 have got that too), but because the counterpoint is used (maybe for the first time in musical history) as part of a dramatic narrative. The final movement is basically a struggle between the arioso theme, which is not merely sad but crushingly hopeless (dolente = painful, aching, ermattet = exhausted) to the point of its literally breaking up the second time it’s presented, and the fugue, which radiates an inner strength and consolation.
In the end, the fugue wins, but in an extraordinary way. The second fugue does not merely achieve a triumphant shape: it burns itself out of existence. As the texture thickens and intensifies with inversions and simultaneous presentations of augmentations and diminuitions [57:30], suddenly there are just two voices duelling in ecstasy [57:53, with the shift to 2 voices at 58:05], incessantly reaching higher, and then suddenly there is just one voice, the main theme pouring out in a great chorale [58:19]. It’s my favourite moment in all the 32 sonatas – a theme that leaps out of its own chasm of counterpoint, and when finally freed rings with a kind of joy which should be impossible after the arioso but somehow isn’t. And because the fugue theme is really the opening bars of the entire sonata, the sonata has an open-ended, cyclic form, with the basic movement over the entire piece being from lyricism (the opening) to hope (the final bars).
MVT I
EXPOSITION
00:00 – Theme 1
00:41 – Transition (a highly abstracted form of the melody that just preceded it)
01:05 – Theme (Group) 2
02:12 –DEVELOPMENT (Note how compressed it is, and how reliant on counterpoint)
03:03 – RECAPITULATION (Theme 1 is combined with the Transition theme in the LH)
05:59 – CODA
MVT II
06:24 – Scherzo
07:04 – Trio (Cleverly constructed out of large upward leaps and downward descents: Beethoven’s manuscript shows he struggled a lot working out of figuration of this section)
07:31 – Scherzo
08:13 – CODA/transition
MVT III
08:30 – INTRODUCTION
10:26 – ARIOSO (the melody is built from the downward gesture that opens the scherzo)
12:52 – FUGA I (The fugue subject is built from an ascending chain of fourths, and is derived from the sonata’s opening phrase. The countersubject is built from a descending chain of fourths.)
15:13 – ARIOSO (note how the melody is broken up, “sobbing”)
18:00 – FUGA II (The fugue subject is a straightforward inversion of the first fugue’s subject. If there was any doubt about the narrative structure of this movement Beethoven has marked this section wieder auflebend = again reviving, poi a poi di nuovo vivente = little by little with renewed vigour)
18:23 – The subject of the first fugue enters the fray in the lowest voice, in diminished form and with a different rhythmic emphasis. Immediately after, the first fugue subject also enters in the top voice, but this time in augmented form.
18:48 – A double diminuition of the first fugue subject is introduced, with a relaxing of the tempo which generates the effect of a gradual *increase* in tempo
18:53 – The subject of the second fugue enters in middle voice.
19:01 – The subject of the first fugue enters in bass. Effectively two voices left. The double diminuition becomes transformed into a decorative figure in RH.
19:15 – FINALE: Homophonic chorale. The theme escapes.
1:53
Waltz in A-flat major, Op. 39 No. 15 // BRAHMS
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Wal...
published: 09 Mar 2016
Waltz in A-flat major, Op. 39 No. 15 // BRAHMS
Waltz in A-flat major, Op. 39 No. 15 // BRAHMS
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- published: 09 Mar 2016
- views: 161538
This short and beautiful waltz is Johannes Brahms' most popular works from his Sixteen Waltzes Op. 39
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A-flat
A-flat may refer to:
- A scale based on A-flat, such as A-flat major or A-flat minor
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/A-flat
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A Flat
Trust In me can't trust
I know, I don't believe it
All my life so scarred
what for, you can't conceive it
Everything you fear
I'll be, you couldn't live it
I whisper in your ear
so loud, why can't you hear it
I'm OK
All my faith is gone
you think I couldn't find it
Pieces falling down
shattered, nothing behind it
In my mind alone,
Lost here I'm separated
Crawl deeper in my hole
safe here from what I hated
All the demons in my head won't leave me
I know I can hear them
All the sacrifices made for nothing
Don't show can't believe it
Want to show that I'm good for something
I can't you won't let me
All your artificial words won't heal me
Because you can't accept me
And I hate myself
And I hate my face
And I hate my world
And I hate my ways
And I
And I
And I
I'M NOT OK!
I'm OK
Trust In me can't trust
Iknow, I don't believe in
All my life so scarred
what for,you can't conceive it
Everything you fear
I'll be, you couldn't live it
I whisper in your ear
why can't you feel it
All the demons in my head won't leave me
I know I can hear them
All the sacrifices made for nothing
Don't show can't believe in
Want to show that I'm good for something
I can't you won't let me
All your artificial words won't heal me
Because you can't accept me