G-flat

The first one is a restatement of the middle section's opening transposed to the tonic G-flat major.

Barber has chosen to repeat the B-flat instead of immediately moving to the G-flat like in the ballad.

Further, E-quarter-flat and G-flat may vary slightly, said to cause a "sad" or "sensitive" mood.

G-flat may refer to:

Carter takes it a step further and shows how the G-flat, the lowered scale degree five and a tri-tone from C, are emphasized.

G-flat major is a major scale based on G-flat.

G (G-flat) or Sol Bémol is the seventh semitone of the solfege.

The small interval between equivalent notes, such as F-sharp and G-flat, is the Pythagorean comma.

Album leaf I in G-Flat Mayor.

The cadenza concludes and the new thematic material is combined in a cantabile episode commencing in G-flat.

Waltz in G-Flat Mayor.

The Prelude in G-Flat Major, Op.

Finally, to cadence the tune, the melody steps up into the G-flat before returning to the final G-flat.

Etopeya Waltz in G-Flat Major Mario.

In writing music in E major for B-flat instruments, it is preferable to use a G-flat rather than an F-sharp key signature.

The work begins with a majestic slow introduction, which progresses into a main movement in sonata form whose opening theme in B-flat hints also at G-flat.

The vocal range extends from B-flat to G-flat, with a tessitura from E-flat to E-flat.

For his last encore, Brendel played Schubert's Impromptu in G-Flat, which unfolds as one continuously murmuring, infinitely gentle song.

The Polish composer Frédéric Chopin wrote two etudes in the key of G-flat Major: Étude Op.

Played by Tommie Moore on piano and William Washington on violin - "Humoresque in G-flat Major, Op.

Several of the studies even combine two études; the most well known of these, called "Badinage," combines both the G-flat (the "Black Key" Étude of Op.

In measure 47, the top G-flat in the right hand has an arrow next to it showing the start of the rest of the melody in the top voice of the right hand.

It starts off in the key of E Major, but has a key change after the first chorus to F Major and another at the end of the bridge to G-flat Major.

One could argue with the languid tempo of Schubert's G-flat Impromptu and question the grammatical justification for some of the rubato in Schumann's "Kreisleriana," but a firm grasp of long musical arches made both pieces work.

In the coda, the main theme is fragmented in a manner also similar to the finale of the previous sonata; the octave on G here descends to G-flat and then to F, and the movement closes with a triumphant presto.