Study No. 60 in C Major

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Study No. Etudes, Op.

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  1. Mayer: Study Op. 340 No. 1 in C Major;
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  5. Work Title 25 Etudes Alt ernative. Studies ; For guitar ; Scores featuring the guitar ; For 1 player ; For mandolin arr ; Scores featuring the mandolin. Contents 1 Performances 1. Performers Schneidy. The quartet consists of four movements:. The first movement of the quartet is in the home key of C major, in common time, and is written in sonata form. The third movement, in C major and A minor, is a standard minuet and trio. The fourth movement, in C minor and C Major, is in sonata form.

    This is a wonderful lesson in orchestration, for too often the extremes in the range are wasted too early in a work, and the final buildup is, as a result, anticlimactic. The other formal factor to notice is that the entire structure is an accumulation of the elements which have slowly entered the harmonic and contrapuntal scheme in the course of the variations and have become a natural part of the statement [i. The opening of the movement begins in a way that seemingly contradicts the allegro con spirito marking.

    Table of Contents

    In measure 7, the same instruments sustain a dominant 7th chord while the first violin again plays a rising solo on top. In measure 22, all instruments reach forte , and allegro con spirito character is apparent through the 16th-note movement and lively staccato eighth-notes trading off between the parts.

    In measure 37, the opening sunrise theme returns, this time with the solo in the cello and the sustained chords in the violins and viola.

    The lively 16th-note section returns in measure 50, beginning with 16th-notes in the cello which move to the viola, and finally, the violins. In measure 60, all instruments drop to piano for a six-measure staccato eighth-note section before jumping to an all 16th-note ff in measure 66 to finish off the exposition.

    The development in measure 69 begins with the same texture as does the opening of the movement—with the 2nd violin, viola, and cello sustaining a chord while the 1st violin plays a solo on top. The first chord, sustained from bars , is a d minor chord, the relative minor of the dominant F major. The second chord, sustained from bars , is an F sharp diminished seventh chord, resolving to G minor in measure 80, which signifies the return of trading moving 16th-notes.

    The following 5 measures revolve around G minor, only to modulate to E-flat major in measure The major tonality lasts but two measures, as it shifts to F minor in measure 88, F sharp diminished in 89, and G minor in measure This sets up a pattern for the rest of the development section, in which one instrument, mainly the 1st violin in measures , fills in an eighth-rest with a lone eighth-note, thus giving each measure a steady eighth-note pulse.

    Throughout this section, the dynamic gradually drops from forte to pianissimo by means of a poco a poco decrescendo. When the pianissimo is finally reached in measure , the retransition to the recapitulation begins, ending on the dominant seventh chord F of the original key, B flat Major. In measure , the beginning of the recapitulation begins just as the beginning of the exposition does—the 2nd violin, viola, and cello sustaining a tonic chord while the 1st violin plays the sunrise motif above it.

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    In measure , the allegro con spirito 16th-note section returns in the 1st violin, punctuated by staccato eighth-notes in the other instruments. The 16th-notes trade off to the 2nd violin, culminating in an all-instrument unison in measure After this, the opening theme returns again, with the solo line beginning with the cello and moving up through the viola to the 2nd violin. In measure , all strings crescendo to the returning 16th-note theme in measure In measure , the staccato eighth-note trade-off section returns, in the tonic key and piano dynamic.

    A fortissimo appears in measure , beginning the lead into the I7 chord fermata.

    Sor's Etude Op.35 No.1 for guitar - Sheet Music

    Beginning in the following measure, the viola, and two violins pass each other the opening sunrise motif for a measure at a time, while the remaining instruments sustain chords. The tonic returns in measure , with a brief teaser of the staccato eighth-note theme, to be replaced by the 16th-notes played by all instruments in the fortissimo dynamic.

    In the final three bars, all four instruments play a succession of tonic B flat major chords. The work consists of four movements:.