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PDF Prelude in C-sharp Minor, Op. 3, No. 2

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Hello, everyone. I was wondering if anyone knows any similar pieces, that have the same dark and powerful aura to them.

Can't really put it into words but I think you can understand what I'm trying to say. I'm looking for solo piano pieces that evoke the same feeling of grandeur and unease that this one does. If anyone knows anything similar please let me know! His own Prelude in B Minor would be a good starting point. It was actually his personal favourite of his Preludes. The C Minor he got pretty sick and tired of.

Prelude In C# Minor, Op. 3, No. 2 Sheet Music By Sergei Rachmaninoff - Sheet Music Plus

The B minor is the saddest piece of music I've ever heard. By far my favorite Rach prelude, as much as I still enjoy C Minor. There are two Rachmaninov preludes that I can think of, that might be somewhat similar in timbre, though the second one doesn't have as much "grandeur". The two preludes are:.

Prelude in C# Minor, Op. 3 No. 2

Rachmaninov Prelude Op. The top two staves are both played by the right hand, the bottom two by the left.

Garrick Ohlsson – S. Rachmaninoff "Prelude, Op. 3 No. 2" (Chopin and his Europe) (encore)

Prelude in C-sharp minor, Op. Played by Rachmaninoff himself for Edison Records in This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

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Sergei Rachmaninoff: A Lifetime in Music. Indiana: Indiana University Press. Rachmaninoff: Life, Works, Recordings. London : Continuum. Minneapolis Tribune.

Prelude in C-sharp minor (Rachmaninoff)

Retrieved 3 March Harpo Speaks. New York: B. Retrieved 11 May Retrieved But, just in case you still want some guidance for the middle section The top note should indeed be emphasized while the other two parts of the triplets are to be relatively soft. The first two measures of the middle section will be repeated a few times in slightly arranged form, while the "development" is really just the triplet-breaking of the quick, syncopated chords that rapidly descend in transition to the final, larger restatement of the primary theme.

I took up this piece a few days ago, and now I'm finished with it.

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In practicing the middle section, I simply played each measure at least twenty times in succession, then I would play two measures together twenty times in succession, then three, then four With an hour of practicing and correct finger-placement, I was finished with the agitato. I hope your performance went well! By the way, consolidating broken chords into the whole chords themselves and then practicing only the progression is always a good idea if you find it useful.


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Some sections that seem unintelligible often seem to come together quite clearly with such a method, you can see that the chord progression of the middle part is fairly simple, and more importantly, easy to remember. By Crusader in forum Keyboard Instruments.