preludial造句

• This flexibility is of particular importance in the recapitulation, which, though it invariably commences with a restatement of the first preludial theme, is no mere repetition of the preludial themes.
• This flexibility is of particular importance in the recapitulation, which, though it invariably commences with a restatement of the first preludial theme, is no mere repetition of the preludial themes.
• Sometimes the exposition starts with one of these new themes ( in piano concertos Nos . 9, 20, 22, 24 and 25 ), but the exposition can also start by restating one of the preludial themes.
• For example, K . 488 in A major lacks new expositional material, and " merely " repeats the preludial material; further, it effectively merges the first ritornello and the middle section, as does K . 449 in E flat.
• In addition to the preludial and expositional themes, the exposition typically contains various free sections that show off the piano; but, contrary to the popular conception of the piano concerto, and to how it developed in the nineteenth century, these sections are not merely empty displays, but rather, short sections that fit into the overall scheme.
• The improvisatory element, present to some degree in most lute pieces, is particularly evident in the early ricercares ( not imitative as their later namesakes, but completely free ), as well as in numerous preludial forms : preludes, tastar de corde ( " testing the strings " ), etc . During the 17th century keyboard and lute music went hand in hand, and by 1700 lutenists were writing suites of dances quite akin to those of keyboard composers.