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b'\n\n<!DOCTYPE html>\n<html lang="en">\n\n<head>\n <script>\n (function () {\n var isTouch = \'ontouchstart\' in window || \'onmsgesturechange\' in window;\n var isMac = [\'Macintosh\', \'MacIntel\', \'MacPPC\', \'Mac68K\'].indexOf(window.navigator.platform) > -1;\n\n if (isMac && isTouch) {\n var date = new Date();\n date.setFullYear(date.getFullYear() + 1);\n\n document.cookie = \'_mu_force_ipad=1;path=/;domain=.musescore.com;expires=\' + date.toUTCString() + \';\';\n window.location = window.location.href\n }\n })()\n</script>\n <meta name="robots" content="noindex, follow">\n<link href="https://musescore.com/sheetmusic/piano" rel="canonical">\n<link href="https://musescore.com/static/public/build/musescore/vendor.d20ca971f59219f84014a547c969ed48.js" rel="preload" as="script">\n<link href="https://musescore.com/static/public/build/musescore/ms~runtime.71f843f1ba4d3c46b5decb143dc7e15c.js" rel="preload" as="script">\n<link 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It is believed that Beethoven intended to add the piece to a cycle of bagatelles.\\n\\nIt is not certain who “Elise” was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named “Für Therese”, a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven\'s to whom he proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.\\n\\nAccording to a 2010 study by Klaus Martin Kopitz, there is evidence that the piece was written for the German soprano singer Elisabeth Röckel (1793–1883), later the wife of Johann Nepomuk Hummel. “Elise”, as she was called by a parish priest (she called herself “Betty” too), had been a friend of Beethoven\'s since 1808. In the meantime, the Austrian musicologist Michael Lorenz has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik\'s musical scores, was the illegitimate son of Babette Bredl (who in 1865 let Nohl copy the autograph in her possession). Thus the autograph must have come to Babette Bredl from Therese von Droßdik\'s estate and Kopitz\'s hypothesis is refuted.\\n\\nIn 2012, the Canadian musicologist Rita Steblin suggested that Juliane Katharine Elisabet Barensfeld, who used “Elise” as a variant first name, might be the dedicatee. Born in Regensburg and treated for a while as child prodigy, she first travelled on concert tours with Beethoven\'s friend Johann Nepomuk Mälzel, also from Regensburg, and then lived with him for some time in Vienna where she received singing lessons from Antonio Salieri. Steblin argues that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who lived opposite Mälzel\'s and Barensfeld\'s residence and who might have given her piano lessons. Steblin admits that question marks remain for her conclusion.\\n\\nThe piece is in A minor and is set in 3/8 time. It begins with an A minor theme marked Poco moto (little movement), with the left hand playing arpeggios alternating between A minor and E major. It then moves into a brief section based around C major and G major, before returning to the original theme. It then enters a lighter section in the subdominant key of the relative major of A minor (C major), F major. It consists of a similar texture to the A section, where the right hand plays a melody over left hand arpeggios. It then enters a 32nd note C major figure before returning to the A section. The piece then moves to an agitated theme in D minor with an A pedal point, as the right hand plays diminished chords. This section then concludes with an ascending A minor arpeggio before beginning a chromatic descent over two octaves, and then returning to the A section. The piece ends in its starting key of A minor with an authentic cadence. Despite being called a bagatelle, the piece is in rondo form. The structure is A–B–A–C–A. The first theme is not technically difficult and is often taught alone as it provides a good basic exercise for piano pedalling technique. However, much greater technique is required for the B section as well as the rapid rising A minor figure in the C section.\\n\\nKopitz presents the finding by the German organ scholar Johannes Quack that the letters that spell Elise can be decoded as the first three notes of the piece. Because an E is called an Es in German and is pronounced as “S”, that makes E–(L)–(I)–S–E: E–(L)–(I)–E–E, which by enharmonic equivalents sounds the same as the written notes E–(L)–(I)–D–E.","tags":["piano","Classical","For","no","no.","A","popular","minor","beethoven","por","bagatelle","Fur","moll","59","25","woo","elise","albumblatt","bia","515","pour","poco","moto"],"is_downloadable":1,"is_blocked":false,"license":"all-rights-reserved","instrumentation_id":114,"is_original":false,"measures":106,"keysig":"C major, A minor","license_id":9,"license_version":"4.0","song_name":"Für Elise, WoO 59","artist_name":"Ludwig van Beethoven","complexity":2,"_links":{"self":{"href":"https://musescore.com/user/19710/scores/33816"}}},{"id":58553,"title":"Clair de Lune – Debussy","file_score_title":"Clair de Lune","subtitle":"from “Suite Bergamasque” L. 75\\n3rd Movement","description":"Solo","can_manage_score":false,"parts":1,"parts_names":["Piano"],"thumbnails":{"small":"https://musescore.com/static/musescore/scoredata/g/c37d53b4f4898427d69490c8fe9cc1cdbd72b7bb/score_0.png@180x252?no-cache=1652350725&bgclr=ffffff","medium":"https://musescore.com/static/musescore/scoredata/g/c37d53b4f4898427d69490c8fe9cc1cdbd72b7bb/score_0.png@300x420?no-cache=1652350725&bgclr=ffffff","large":"https://musescore.com/static/musescore/scoredata/g/c37d53b4f4898427d69490c8fe9cc1cdbd72b7bb/score_0.png@500x660?no-cache=1652350725&bgclr=ffffff","original":"https://musescore.com/static/musescore/scoredata/g/c37d53b4f4898427d69490c8fe9cc1cdbd72b7bb/score_0.png?no-cache=1652350725"},"share":{"publicUrl":"https://musescore.com/user/19710/scores/58553","embedUrl":"https://musescore.com/user/19710/scores/58553/embed","url":"https%3A%2F%2Fmusescore.com%2Fuser%2F19710%2Fscores%2F58553","title":"Clair+de+Lune+%E2%80%93+Debussy","isShowSecretUrl":false},"user":{"id":19710,"name":"ClassicMan","url":"https://musescore.com/classicman","image":"https://musescore.com/static/musescore/userdata/avatar/a/8/9/19710.jpg@150x150?cache=1483948208","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/5/7/3/19710.jpg?cache=1486629592","date_created":1324390378,"is_publisher":false,"_links":{"self":{"href":"https://musescore.com/classicman"}}},"url":"https://musescore.com/user/19710/scores/58553","duration":"04:36","composer_name":"Claude Debussy\\n(1862–1918)","pages_count":6,"date_created":1344196696,"date_updated":1652350725,"favorite_count":86293,"comments_count":796,"instruments":[{"name":"Piano"}],"hits":2443056,"is_draft":false,"processing":"ready","revisions_count":"11","revision_id":11019698,"has_custom_video":false,"has_custom_audio":false,"is_private":0,"is_origin":false,"is_public_domain":true,"truncated_description":"Claude Debussy (1862-1918) composed Clair de Lune, the third movement from the Suite Bergamasque in 1888 (first published [url state=primary href=\\"https://musescore.com/user/19710/scores/58553\\"]Read more[/url]","instrumentations":[{"name":"Solo"}],"rating":{"rating":4.80999999999999960920149533194489777088165283203125,"count":17262,"count_to_visible":0,"stats":[{"rating":5,"count":15114},{"rating":3,"count":434},{"rating":4,"count":1428},{"rating":2,"count":95},{"rating":1,"count":191}],"user_rating":null,"abusive_ban_time":null,"abusive_ban_time_remain":null},"publisher":null,"is_official":false,"body":"Claude Debussy (1862-1918) composed Clair de Lune, the third movement from the Suite Bergamasque in 1888 (first published in 1903). It is important to note that with the exception of the poetically titled Clair de Lune, suite Bergamasque is created exclusively from Baroque movements. The choice of compound triple meter for this movement shows the contrast to the dance movements and helps allow Debussy freedom to articulate the music differently.\\r\\n \\r\\nIn addition, Clair de Lune is compositionally, the most adventurous piece of the suite. The positioning within the suite is important; it is the suite’s third movement, and is the lyrical climax of the suite. The use of structure and proportion within the movement is significant;\\r\\n \\r\\nMost important of all, they show ways in which the forms are used to project the music’s dramatic and expressive qualities with maximum precision.\\r\\n\\r\\nThe opening theme of Clair De Lune is derived from music heard in the preceding movements of the suite. This is worth mentioning, as while Debussy has composed a movement that may itself warrant detailed analysis, it is important to remember that care has been taken with both compositional material and structure on a macroscopic level.\\r\\n\\r\\nWhile the overall structure of the movement is ambiguous, the form best fitting the movement is ternary form, extended by a coda created from material originating in section B. On a superficial level, the overall structure of ternary form; A B A, fits the structure of the movement well. In ternary form, the first and third sections (A) are normally identical, although commonly, the third section will feature more ornamentation than the first section; while the middle section (B) contrasts sharply with it. The thematic material in the A and B sections would sharply contrast; which they do here. An alternative to ternary form could be rounded binary form, again with an added coda. 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Chopin\\r\\nNocturne Op 9 No 2\\r\\nE Flat Major / Mi Majeur\\r\\n\\r\\nScore complete and verified, with all annotations.","instrumentations":[{"name":"Solo"}],"rating":{"rating":4.769999999999999573674358543939888477325439453125,"count":12791,"count_to_visible":0,"stats":[{"rating":5,"count":10912},{"rating":4,"count":1224},{"rating":3,"count":392},{"rating":1,"count":186},{"rating":2,"count":77}],"user_rating":null,"abusive_ban_time":null,"abusive_ban_time_remain":null},"publisher":null,"is_official":false,"body":"Frederic Chopin\\r\\nNocturne Op 9 No 2\\r\\nE Flat Major / Mi Majeur\\r\\n\\r\\nScore complete and verified, with all annotations.","tags":["Chopin","Frederic Chopin","Nocturnes","Nocturne","Op 9","No 2","E Flat Major","Mi Majeur"],"is_downloadable":1,"is_blocked":false,"license":"cc-by","instrumentation_id":0,"is_original":false,"measures":38,"keysig":"E major, C minor","license_id":1,"license_version":"4.0","song_name":"Nocturnes, Op.9","artist_name":"Frédéric 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Satie\\n(1866–1925)","pages_count":3,"date_created":1508583703,"date_updated":1653378331,"favorite_count":48801,"comments_count":443,"instruments":[{"name":"Piano"}],"hits":1177604,"is_draft":false,"processing":"ready","revisions_count":"6","revision_id":11388930,"has_custom_video":false,"has_custom_audio":false,"is_private":0,"is_origin":false,"is_public_domain":true,"truncated_description":"The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist [url state=primary href=\\"https://musescore.com/user/19710/scores/4766391\\"]Read more[/url]","instrumentations":[{"name":"Solo"}],"rating":{"rating":4.79999999999999982236431605997495353221893310546875,"count":10758,"count_to_visible":0,"stats":[{"rating":5,"count":9321},{"rating":4,"count":1023},{"rating":2,"count":55},{"rating":1,"count":108},{"rating":3,"count":251}],"user_rating":null,"abusive_ban_time":null,"abusive_ban_time_remain":null},"publisher":null,"is_official":false,"body":"The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist Erik Satie.\\r\\n\\r\\nThe Gymnopédies are the first compositions with which Erik Satie tried to cut himself loose from the conventional 19th century “salon music” environment of his father and stepmother. In September 1887, Satie composed three sarabandes (Trois Sarabandes), taking a quote from J. P. Contamine de Latour\'s La Perdition by way of introduction. By this time, Satie knew Contamine personally.\\r\\n\\r\\nSatie apparently used the word “gymnopédiste”, before having written a note of his later famous gymnopédies. The anecdote of Satie introducing himself as a \\"gymnopaedist\\" in December 1887 runs as follows: the first time Satie visited the Chat Noir cabaret, he was introduced to its director, Rodolphe Salis, famous for serving sharp comments. Being coerced to mention his profession, Satie, lacking any recognisable professional occupation, presented himself as a “gymnopaedist”, supposedly in an attempt to outwit the director. The composition of the three Gymnopédies started only two months later, and was completed in April 1888.\\r\\n\\r\\nSatie claimed his Gymnopédies were inspired by reading Gustave Flaubert\'s novel Salammbô. Also Puvis de Chavannes\' symbolist paintings may have been an inspiration for the atmosphere Satie wanted to evoke with his Gymnopédies.\\r\\n\\r\\nIn August 1888, the first Gymnopédie was published, accompanied by the verse of Contamine:\\r\\n\\r\\n“Oblique et coupant l\'ombre un torrent éclatant\\r\\nRuisselait en flots d\'or sur la dalle polie\\r\\nOù les atomes d\'ambre au feu se miroitant\\r\\nMêlaient leur sarabande à la gymnopédie”\\r\\n\\r\\nHowever, it remains uncertain whether the poem was composed before the music, or whether Contamine intended the verse as a tribute to his friend, who had now completed both a set of sarabands and gymnopédies.\\r\\n\\r\\nLater the same year the third Gymnopédie was published. 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