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Piano, Vocal, Guitar Tablature

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For example, in Mein Platz, the left hand is embellished, and in So lach doch mal, the return to the A material is varied with the insertion of a descant (ex. 16). What follows can best be described as a mini-development in which different tonalities are explored and there is a great deal more metric freedom. In Da geht ein 11 Bach, the development section comprises the entirety of an unusually long first ending, and culminates in a gradually shifting harmony suspended over a six measure pedal point.

12), although extensions of his earlier Baroque contrapuntal techniques also reappear. The Wagnerian characteristics of Schmerz were not lost on Nietzsche either; after Parsifal was premiered twenty years later, he remarked on its similarity to his own Der Könige Tod—one 15 component of Schmerz ist der Grundton der Natur. Schmerz also illustrates Nietzsche’s growing organizational abilities. While still very sectional (the borders between its original components remain obvious), he utilizes characteristic motifs and melodies to create symmetry and balance.

The setting of the text is, for the most part, effective, with metric emphases corresponding with stressed syllables. This seems logical, considering that Nietzsche’s knowledge of Latin would have made him especially cognizant of proper declamation. The most characteristic quality of the Miserere is an underlying tension between the selfimposed, sixteenth century stylistic constraints and the typically nineteenth century romanticism that the sixteen year-old Nietzsche wanted to convey. The fact that Nietzsche never completed the piece (although he attempted several versions) or submitted it to Germania indicate his own realization that the piece was ineffective.

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Las Terceras Lecciones de Guitarra by SAGRERAS

by Ronald

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