Study No. 5

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This melodic figuration is accompanied by the left hand in staccato chords and octaves. It would have been better to remain silent. The two eight-bar periods of the A section are characterized by frequent dynamic contrasts. Each reentry of the first bar , occurring every four bars, is marked by a forte , followed in the second bar by a piano restatement in a lower register. This capricious [7] : opening in the tonic is replied by an upward movement and a syncopated accompaniment in the third and fourth bar.

This pattern is repeated four times. The coda consists of two periods , the last one stretched by three bars. The consequent of the second period contains a brilliantly swooshing, widely positioned arpeggio for both hands bars 79 83 and is pianistically attractive. Its effect is based on the accent enforced by a third at the beginning of each triplet , as well as on the tenth and eleventh stretches of the left hand and the ascending bass line covering the entire range of the keyboard.

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Some prominent performers, including Horowitz and Rosenthal , choose to perform the final octave passage glissando. Leichtentritt states that the melodic character resulting from the use of black keys is "based on the pentatonic scale to which the piece owes its strangely playful, attractively primitive tint. German pianist and composer Theodor Kullak — says that the piece is "full of Polish elegance.

Estudio No. 5 in B Minor by Fernando Sor performed by Eric Henderson

Huneker states "it requires smooth, velvet-tipped fingers and a supple wrist. A sempre legatissimo indication is given at bar Nevertheless, Austrian pianist and composer Gottfried Galston — questions these indications and calls them "completely incomprehensible. Preliminary exercises are given by both Galston and Cortot. Hungarian pianist and composer Rafael Joseffy — introduces exercises in his instructive edition [13] including numerous "octave-exercises on black keys.

In the Studienbuch Galston published his complete arrangement in double notes [11] : 25—31 which was first recorded by Artur Cimirro in Besides these, there is a combination of Op. Derrett , D. Des Jarlais , S. Dharmaratne , M. Dherani , C. Diaz-Torne , H. Dolk , E. Dorsey , T. Driscoll , H. Duber , B. Ebel , K.


Edmond , A. Elbaz , S. Ali , H. Erskine , P. Erwin , P. Espindola , S. Ewoigbokhan , F. Farzadfar , V. Feigin , D. Felson , A. Ferrari , C. Ferri , E. Finucane , S. Flaxman , L. Flood , K. Foreman , M. Forouzanfar , F.

Fowkes , M. Fransen , M. Freeman , B. Gabbe , S. Gabriel , E. Gakidou , H. Ganatra , B. Garcia , F. Gaspari , R.

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Gillum , G. Gmel , D. Gonzalez-Medina , R. Gosselin , R. Grainger , B. Grant , J. Groeger , F. Guillemin , D. Gunnell , R. Gupta , J. Haagsma , H. Hagan , Y. Halasa , W. Hall , D. Haring , J. Haro , J. Harrison , R. Havmoeller , R.

Hay , H. Higashi , C. Hill , B.

Vol 8 No 5 (12222)

Hoen , H. Hoffman , P. Hotez , D. Hoy , J. Huang , S.

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Étude Opus 25 No. 5 in E Minor sheet music download free in PDF or MIDI

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