Chopin scherzo 2 pdf software#
Chopin scherzo 2 pdf windows#
Chopin scherzo 2 pdf download#
High-End Network-Streaming players and few D/A Converter's (DAC). Print and download Scherzo II in Bb Minor, Op.Studio Master: DSD (Direct-Stream Digital) Supported by Apple OS with software player from Amarra, Audirvana, PureMusic).For users, using Apple/iTunes and a few Network Streaming players.
Studio Master: ALAC (Apple Lossless Audio Coding) Supported by Apple OS with software player from Amarra, Audirvana, PureMusic, Songbird.Supported by Windows with software player from Media Monkey, JRiver, JPLAY).Widely compatible with Network Streaming players and D/A Converter's (DAC).Studio Master: FLAC (Free Lossless Audio Codec) CODA (Bars 716-780):īars 716-723: Coda. Begins with a modification of Theme 2 in the quite unexpected key of A major (Bars 716-723), using some chromatic notes a semitone above or below the dominant note.īars 724-732: The rhythm of Theme 2 continues in B flat minor, then moving chromatically in Bars 727-731 to D flat major.īars 733-756: Theme 1, D flat major, with some chromaticism, particularly during the stretto before the perfect cadence in Bars 755-756.īars 756-780: Theme 2, D flat major, with some chromatic notes a semitone above or below the dominant note, and a brief suggestion of F major in Bars 772-774, ends with a perfect cadence in Bars 775-776.HighRes-Studio Master files are lossless at various sample rates from 44.1 kHz up to 384 kHz or 1-bit (2.8224 MHz) for DSD. There is an extended passage of cadential preparation in Bars 701-707, with a dominant pedal in the bass, many diminished seventh chords, and a dominant minor ninth chord in Bar 707, leading to a perfect cadence in Bars 707-708. REPEAT OF B:īars 366-367: A repeat of Bars 265-365, with small changes to the embellishment of Theme 4, and one additional bar (Bar 374).īars 584-715: Similar to Bars 1-124, with an additional left hand trill (Bar 630), small changes in rhythm and texture in Bar 684. Modulates to F sharp minor (Bars 317-325, making a sequence with Bars 308-316), then returns to C sharp minor until the last two bars (Bars 332-333), which are in E major.īars 334-365: Theme 6 (leggiero). All in E major, with some use of the ii half diminished seventh chord (Bars 352-353 and 356-357). Modulates to F sharp minor in Bars 277-284, with an imperfect cadence in Bars 280-281, followed by delicatissimo arpeggiation of the dominant chord.īars 285-308: Theme 4 restated. Begins in A major as before (Bars 285-298), then modulates to C sharp minor from Bar 299, with an imperfect cadence in Bars 305-306, followed by arpeggiation of the dominant chord.īars 309-333: Theme 5 (espressivo). Begins in C sharp minor. REPEAT OF A:īars 133-264: A repeat of Bars 1-132, with small rhythmic changes to Theme 1 TRIO (Bars 265-583): B:īars 265-284: Theme 4. Begins in A major (D flat, the previous keynote, now becomes C sharp by an enharmonic change – the third of A major). the G flat in Bar 69, E natural in Bar 97, etc.).īars 117-132: Closing theme – tonic and dominant seventh arpeggios in D flat major. The album features these best-loved works. Suspensions and appoggiaturas are used throughout this passage for added expressiveness (e.g. For his sixth and latest Deutsche Grammophon album, pianist Seong-Jin Cho returns to the music of Frdric Chopin with his Piano Concerto No. A diminished seventh chord (F – A flat – C flat – D) is used in Bar 87, 103, and 109-112. There is a dominant pedal in Bars 107-116, leading to a perfect cadence in Bars 116-117. Bars 25-48: Theme 1 restated. Begins in B flat minor as before (Bars 25-36), but then modulates to F minor (dominant) instead of D flat major in Bars 37-48.īars 49-64: Theme 2, all in D flat major, with some use of the flattened sixth degree (B double flat) as part of a dominant minor ninth chord, or part of a chromatic scale.īars 65-117: Theme 3 (con anima). Begins in G flat major, then modulates to A flat major (Bars 73-80, making a sequence with Bars 65-72) and D flat major.
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