Part two transitions to A Major. (The composition is in E Major) and has a different character though motifs and ideas from the opening section intersperse this portion of the Arabesque.
A very noteworthy change that occurs with the modulation to A Major, is a prevalence of chords, some of which move homophonically (in the same rhythm) with a hymn-like character.
Once the triplets intertwine this section and the rest of the piece, the player has to be aware that this thread gives unity to the whole work.
On the last page an Extension or Coda appear at which point the bass line and tenor descend in a most beautiful mosaic against the melody.
At the very last line of the composition an opposite ascent of triplet figures divided between the hands, gracefully concludes the work as they wisp away after a preceding swell or crescendo.
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Published by arioso7: Shirley Kirsten
International Online Piano Teacher, blogger, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC H.S. of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning by Skype and Face Time with supplementary videos: SKYPE ID: shirley kirsten
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Private fundraising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches
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