Prelude No. 20 in Cm скачать в хорошем качестве

Prelude No. 20 in Cm

One of the favorites in this set of preludes. The key is in Cm but the song starts with ghostly set of simple notes in Gm. The harmonic minor dotted quarter notes are a precursor to something sinister. The pace of the song is fast, somewhere between 80 to 85 BPM for dotted half notes. The main theme is a workout with octaves in 6/8 timing. After the simple note intro, the sudden forte of the song begins. There are several ways to play those opening runs. Performing this prelude live, you can see that I chose a flashier style of execution rather than a more practical one (you should probably chose the practical fingering style). I liken this prelude to a song that starts with the chorus rather than the verse. The fast opening runs go from G7 to Cm to D7 and then reiterate the ghostly opening notes but as octaves and chords. It then builds up to the "verse" section in Cm. These octave changes are fast and require different fingering for almost every measure since keeping the same fingering will stretch / stress your 4th/5th fingers. The rhythmic pattern of this section is also disguised. The octave figures in the right hand are playing fast 6/8 eighths, while the left hand is playing a 3/4 style with quarter notes. While there is nothing rhythmically challenging, the effect is audibly noticeable. Almost like being in a rough storm at sea and thrown about by the waves. After repeating the main theme, the song pauses on the ghostly opening notes of the song before going into the contrast section of C. This lullaby-like medley is played lightly and without rubato. Like most of the pieces that I write in major key, I tend to disguise the traditional major key progressions and avoid nice and neat things like I-IV-V or avoid resolving into the tonic key. Use of augmented notes, major 7ths and key shifts keep the piece moving until the return of those simple opening notes. The chromatic figure in the left hand lets the listener know that the song's violent nature is not over. After the main theme returns, the harmonic Gm octaves are played but in a variation with galloping chords. Then the G7 to Ab build up is modulated until the start of the "verse" theme. Because of the previous modulation, it starts in C#m. That progresses until the stop and slight slow down with fortissimo G7 and D7 hits. These are carefully played via octaves and crossing the right hand over the left for the bottom octave. A quick Gm to Ab to Am7b5 to Bb7 to diminished chord progression leads to the final run in Cm. The best way to play this last section (at least for me) involves some trickery with the fingering and the division of notes between hands. Though this could change based on the performer's preferences. After these 12 measures of quadruplets, the 6/8 feel returns for 2 measures and ends with 2 pounding chords. This piece takes a while to work up, but is well worth it. After this, take a break and let the audience relax with the next simple prelude.