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【Kero】 Bach BWV 850 Well-Tempered Clavier Book I No.5 Prelude & Fugue D major 巴哈 十二平均律 鍵盤曲集 前奏曲 賦格 键盘曲集 赋格 Bach El clave bien temperado バッハ 平均律 クラヴィーア曲集 フーガ Score Sheet 譜 【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Bach Well-Tempered Clavier BWV846-869
No. 5: Prelude and Fugue in D major, BWV 850
巴哈 十二平均律 鍵盤曲集
巴哈 十二平均律 键盘曲集
Bach El clave bien temperado
バッハ 平均律 クラヴィーア曲集
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Bach #Well-Tempered #clavier
00:00 Prelude
01:12 Fugue
Book I
No. 1: Prelude and Fugue in C major, BWV 846
No. 2: Prelude and Fugue in C minor, BWV 847
No. 3: Prelude and Fugue in C♯ major, BWV 848
No. 4: Prelude and Fugue in C♯ minor, BWV 849
No. 5: Prelude and Fugue in D major, BWV 850
No. 6: Prelude and Fugue in D minor, BWV 851
No. 7: Prelude and Fugue in E♭ major, BWV 852
No. 8: Prelude in E♭ minor and Fugue in D♯ minor, BWV 853
No. 9: Prelude and Fugue in E major, BWV 854
No. 10: Prelude and Fugue in E minor, BWV 855
No. 11: Prelude and Fugue in F major, BWV 856
No. 12: Prelude and Fugue in F minor, BWV 857
No. 13: Prelude and Fugue in F♯ major, BWV 858
No. 14: Prelude and Fugue in F♯ minor, BWV 859
No. 15: Prelude and Fugue in G major, BWV 860
No. 16: Prelude and Fugue in G minor, BWV 861
No. 17: Prelude and Fugue in A♭ major, BWV 862
No. 18: Prelude and Fugue in G♯ minor, BWV 863
No. 19: Prelude and Fugue in A major, BWV 864
No. 20: Prelude and Fugue in A minor, BWV 865
No. 21: Prelude and Fugue in B♭ major, BWV 866
No. 22: Prelude and Fugue in B♭ minor, BWV 867
No. 23: Prelude and Fugue in B major, BWV 868
No. 24: Prelude and Fugue in B minor, BWV 869
Book II
No. 1: Prelude and Fugue in C major, BWV 870
No. 2: Prelude and Fugue in C minor, BWV 871
No. 3: Prelude and Fugue in C♯ major, BWV 872
No. 4: Prelude and Fugue in C♯ minor, BWV 873
No. 5: Prelude and Fugue in D major, BWV 874
No. 6: Prelude and Fugue in D minor, BWV 875
No. 7: Prelude and Fugue in E♭ major, BWV 876
No. 8: Prelude and Fugue in D♯ minor, BWV 877
No. 9: Prelude and Fugue in E major, BWV 878
No. 10: Prelude and Fugue in E minor, BWV 879
No. 11: Prelude and Fugue in F major, BWV 880
No. 12: Prelude and Fugue in F minor, BWV 881
No. 13: Prelude and Fugue in F♯ major, BWV 882
No. 14: Prelude and Fugue in F♯ minor, BWV 883
No. 15: Prelude and Fugue in G major, BWV 884
No. 16: Prelude and Fugue in G minor, BWV 885
No. 17: Prelude and Fugue in A♭ major, BWV 886
No. 18: Prelude and Fugue in G♯ minor, BWV 887
No. 19: Prelude and Fugue in A major, BWV 888
No. 20: Prelude and Fugue in A minor, BWV 889
No. 21: Prelude and Fugue in B♭ major, BWV 890
No. 22: Prelude and Fugue in B♭ minor, BWV 891
No. 23: Prelude and Fugue in B major, BWV 892
No. 24: Prelude and Fugue in B minor, BWV 893
* Note:
1. There are 24 pieces in both Book I & 2, totaling 48 pieces. (BWV846-893).
2. Each of the 24 pieces is in a different key.
3. Each piece consists of a prelude & a fugue.
The Well-Tempered Clavier, BWV 846–893, is two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier, meaning keyboard, referred to a variety of instruments, most typically the harpsichord or clavichord but not excluding the organ.
The modern German spelling for the collection is Das wohltemperierte Klavier . Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later Bach compiled a second book of the same kind, which became known as The Well-Tempered Clavier, Part Two.
Modern editions usually refer to both parts as The Well-Tempered Clavier, Book I (WTC I) and The Well-Tempered Clavier, Book II (WTC II), respectively. Some modern sources regard the collection as being among the most important works in the history of classical music.
Each set contains twenty-four pairs of prelude and fugue. The first pair is in C major, the
second in C minor, the third in major, the fourth in minor, and so on. The rising chromatic pattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen; the second followed 20 years later in 1742 while he was in Leipzig.
...
https://www.youtube.com/watch?v=BKDkhScgpmw
Bach Well-Tempered Clavier BWV846-869
No. 5: Prelude and Fugue in D major, BWV 850
巴哈 十二平均律 鍵盤曲集
巴哈 十二平均律 键盘曲集
Bach El clave bien temperado
バッハ 平均律 クラヴィーア曲集
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Bach #Well-Tempered #clavier
00:00 Prelude
01:12 Fugue
Book I
No. 1: Prelude and Fugue in C major, BWV 846
No. 2: Prelude and Fugue in C minor, BWV 847
No. 3: Prelude and Fugue in C♯ major, BWV 848
No. 4: Prelude and Fugue in C♯ minor, BWV 849
No. 5: Prelude and Fugue in D major, BWV 850
No. 6: Prelude and Fugue in D minor, BWV 851
No. 7: Prelude and Fugue in E♭ major, BWV 852
No. 8: Prelude in E♭ minor and Fugue in D♯ minor, BWV 853
No. 9: Prelude and Fugue in E major, BWV 854
No. 10: Prelude and Fugue in E minor, BWV 855
No. 11: Prelude and Fugue in F major, BWV 856
No. 12: Prelude and Fugue in F minor, BWV 857
No. 13: Prelude and Fugue in F♯ major, BWV 858
No. 14: Prelude and Fugue in F♯ minor, BWV 859
No. 15: Prelude and Fugue in G major, BWV 860
No. 16: Prelude and Fugue in G minor, BWV 861
No. 17: Prelude and Fugue in A♭ major, BWV 862
No. 18: Prelude and Fugue in G♯ minor, BWV 863
No. 19: Prelude and Fugue in A major, BWV 864
No. 20: Prelude and Fugue in A minor, BWV 865
No. 21: Prelude and Fugue in B♭ major, BWV 866
No. 22: Prelude and Fugue in B♭ minor, BWV 867
No. 23: Prelude and Fugue in B major, BWV 868
No. 24: Prelude and Fugue in B minor, BWV 869
Book II
No. 1: Prelude and Fugue in C major, BWV 870
No. 2: Prelude and Fugue in C minor, BWV 871
No. 3: Prelude and Fugue in C♯ major, BWV 872
No. 4: Prelude and Fugue in C♯ minor, BWV 873
No. 5: Prelude and Fugue in D major, BWV 874
No. 6: Prelude and Fugue in D minor, BWV 875
No. 7: Prelude and Fugue in E♭ major, BWV 876
No. 8: Prelude and Fugue in D♯ minor, BWV 877
No. 9: Prelude and Fugue in E major, BWV 878
No. 10: Prelude and Fugue in E minor, BWV 879
No. 11: Prelude and Fugue in F major, BWV 880
No. 12: Prelude and Fugue in F minor, BWV 881
No. 13: Prelude and Fugue in F♯ major, BWV 882
No. 14: Prelude and Fugue in F♯ minor, BWV 883
No. 15: Prelude and Fugue in G major, BWV 884
No. 16: Prelude and Fugue in G minor, BWV 885
No. 17: Prelude and Fugue in A♭ major, BWV 886
No. 18: Prelude and Fugue in G♯ minor, BWV 887
No. 19: Prelude and Fugue in A major, BWV 888
No. 20: Prelude and Fugue in A minor, BWV 889
No. 21: Prelude and Fugue in B♭ major, BWV 890
No. 22: Prelude and Fugue in B♭ minor, BWV 891
No. 23: Prelude and Fugue in B major, BWV 892
No. 24: Prelude and Fugue in B minor, BWV 893
* Note:
1. There are 24 pieces in both Book I & 2, totaling 48 pieces. (BWV846-893).
2. Each of the 24 pieces is in a different key.
3. Each piece consists of a prelude & a fugue.
The Well-Tempered Clavier, BWV 846–893, is two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier, meaning keyboard, referred to a variety of instruments, most typically the harpsichord or clavichord but not excluding the organ.
The modern German spelling for the collection is Das wohltemperierte Klavier . Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later Bach compiled a second book of the same kind, which became known as The Well-Tempered Clavier, Part Two.
Modern editions usually refer to both parts as The Well-Tempered Clavier, Book I (WTC I) and The Well-Tempered Clavier, Book II (WTC II), respectively. Some modern sources regard the collection as being among the most important works in the history of classical music.
Each set contains twenty-four pairs of prelude and fugue. The first pair is in C major, the
second in C minor, the third in major, the fourth in minor, and so on. The rising chromatic pattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen; the second followed 20 years later in 1742 while he was in Leipzig.
...
https://www.youtube.com/watch?v=BKDkhScgpmw
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【KE
mozart-string-quintet-no.4-k.516-g-minor
【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Mozart String Quintet No.4 K.516 in G minor
莫札特 弦樂 五重奏曲 第4號 作品516 G小調
莫札特 弦乐 五重奏曲 第4号 作品516 G小调
Mozart Quinteto de cuerda n.º 4 en sol menor
モーツァルト 弦楽五重奏曲 第4番 ト短調
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Mozart #String #Quintet
00:00 I Allegro
11:02 II Menuetto
12:55 Trio. Allegretto
16:01 III Adagio ma non troppo
23:39 IV Adagio
26:16 Allegro
The String Quintet No. 4 in G minor, K. 516, written by Wolfgang Amadeus Mozart, is like all of Mozart's string quintets a "viola quintet" in that it is scored for string quartet and an extra viola (that is, two violins, two violas, and cello). The mood of the piece is dark and melancholic, typical of Mozart's G minor works.
The work was completed on May 16, 1787, less than a month after the completion of his grand C major Quintet, K. 515. This would not be the last time that a great pair of C major/G minor works of the same form would be published in close proximity and assigned consecutive Köchel numbers. The following year, the 40th (G minor) and 41st (C major) symphonies (respectively K. 550 and K. 551) would be completed within a few weeks of each other.
The work is in four movements.
The first movement is in sonata form with both the first and second themes beginning in G minor. The movement does not resolve to the major key in the recapitulation, and it has a minor-key ending.
The minuet, placed second, is a minuet in name only, as the turbulent G minor theme and heavy third-beat chords make this movement very undancelike. The central trio, by contrast, is in a bright G major.
The third movement, in E-flat major, is slow, melancholic and wistful, furthering the despair brought forth by the previous movements. Pyotr Ilyich Tchaikovsky said of this movement: "No one has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow."
The start of the fourth movement is not the typical quick-tempo finale, but a slow aria back in the home key of G minor. It is a dirge or lament that is even slower than the previous movement. The music remains in this dark area for a few minutes before reaching an ominous pause. At this point, Mozart launches into the ebullient G major Allegro, which creates a stark contrast between it and the movements that preceded it. Critics have often questioned how such an insouciant and carefree finale could follow after three-plus movements of intense pathos, even though it conforms perfectly to the Classical understanding of a finale as resolving everything that preceded it.
...
https://www.youtube.com/watch?v=QVh6ge02B20
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【KE
dvorak-silhouettes-op.8-no.3-8-3
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Dvorak Silhouettes Op.8
No.3 8-3 Allegretto (D♭ major)
德弗札克 輪廓 作品8
德弗札克 轮廓 作品8
Dvořák Siluetas para piano
ドヴォルザーク 影絵
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Dvorak #Dvořák #Silhouettes
No.1 8-1 Allegro feroce (C♯ minor)
No.2 8-2 Andantino (D♭ major)
No.3 8-3 Allegretto (D♭ major)
No.4 8-4 Vivace (F♯ minor)
No.5 8-5 Presto (F♯ minor)
No.6 8-6 Poco sostenuto (B♭ major)
No.7 8-7 Allegro (D major)
No.8 8-8 Allegretto (B minor)
No.9 8-9 Allegro (B major)
No.10 8-10 Allegretto grazioso (G major — E minor)
No.11 8-11 Allegro moderato (A major)
No.12 8-12 Allegro feroce (C♯ minor)
Antonín Dvořák’s compositions for solo piano have been overshadowed by his great symphonies and other orchestral works, the operas and oratorios, the chamber music and even his four-hand piano pieces. Dvořák never claimed to be a pianist of more than average competence, as his early training and performing experiences centered on string instruments. However, his very first composition was a Polka for piano written during his early teens, and perhaps his best-known work, the Humoresque was originally also written for solo piano.
Clearly, Dvořák did not turn to the piano for his best and most innovative work, but his piano miniatures nevertheless represent high levels of inspiration, craftsmanship and personality. Although Dvořák put the finishing touches on his piano cycle Silhouettes Op. 8 only in 1879, a number of its musical themes date back to 1865. In that year the composer wrote his song-cycle Cypresses as an expression of his unrequited love for Josefina Čermáková, an actress at the Provisional Theatre. As is well known, Dvořák eventually married her sister Anna in 1873! The main theme of the first Silhouette, however, originates from Dvořák’s 1st Symphony. That theme returns in the concluding twelfth Silhouette, and forms a circle that reflects an emotionally tumultuous phase of the composer’s life. Other themes are taken from the scherzo of his 2nd Symphony and combined in a peculiar mixture of intimate and passionate pieces. Published by Hofmeister in Leipzig, the low opus number does not correspond to the actual number at that point in Dvořák’s career. Poetic, evocative, and tender, this set was aimed at the amateur pianist, and Theodor Kirchner later arranged the Silhouetts for piano four-hands.
...
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SAINT
saint-saens-introduction-and-rondo
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Saint-Saens Introduction and Rondo Capriccioso Op.28 in A minor
聖桑 序奏與隨想輪旋曲 作品28 A小調
圣桑 序奏与随想轮旋曲 作品28 A小调
Saint-Saëns Introducción y rondó caprichoso en la menor
サン＝サーンス 序奏とロンド・カプリチオーソ イ短調 作品28
Classical music Música clásica クラッシック 古典音樂 古典音乐
#SaintSaens #Rondo #Introduction
The Introduction and Rondo Capriccioso in A minor (French: Introduction et Rondo capriccioso), Op. 28, is a composition for violin and orchestra written in 1863 by Camille Saint-Saëns. It was dedicated to the virtuoso violinist Pablo de Sarasate, who performed the solo violin part at the premiere in April 1867
...
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BRAHM
brahms-6-songs-6-gesänge-op.3-no.1-3-1
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Brahms 6 Songs Op.3
6 GESÄNGE
No.1 3-1 Liebestreu. Sehr langsam
布拉姆斯 6首歌 作品3
布拉姆斯 6首歌 作品3
Brahms Seis lieder (canciones) para tenor o soprano y piano
ブラームス 6つの 歌曲
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Brahms #6Songs #Gesange
No.1 3-1 Liebestreu. Sehr langsam
No.2 3-2 Liebe und Frühling. Moderato ma non troppo
No.3 3-3 Liebe und Frühling. Vivace con fuoco
No.4 3-4 Lied aus dem Gedicht 'Ivan'. Mit feurigen Schwang
No.5 3-5 In der Fremde. Poco agitato
No.6 3-6 Lied. Poco allegretto
...
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VIDEO
JOHAN
johann-strauss-sr-op.1-tauberln-walzer
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Johann Strauss Sr Täuberln-Walzer Tauberln
老約翰 史特勞斯 小鴿子 圓舞曲 作品1
老约翰 史特劳斯 小鸽子 圆舞曲 作品1
Johann Strauss II Vals Palomitas
ヨハン・シュトラウス 1世 小鳩のワルツ
圓舞曲 華爾滋 Waltz Vals ワルツ
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Strauss #Johann #Palomitas
Täuberln-Walzer (Little Doves Waltz), opus 1, is a waltz composed by Johann Strauss I. The work is very simple in form, containing seven melodies without an introduction or coda to the collection as a whole. It debuted during the carnival of 1826, when Strauss introduced his band to the public of Vienna at the Schwan, in the Roßau suburb of Vienna.
Although it is Strauss' first numbered composition, it was not his first work: he had written several other dances under the name of his friend Josef Lanner when the latter was unable to compose due to an illness.
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【KE
elgar-3-characteristic-pieces-for-2
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Elgar Op.10 3 Characteristic Pieces for Orchestra
No.1 10-1 Mazurka
艾爾加 3首 性格小曲 作品10
艾尔加 3首 性格小曲 作品10
エルガー 3つの性格的小品
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Elgar #Characteristic #Piece
No.1 10-1 Mazurka
No.2 10-2 Serenade mauresque
No.3 10-3 Contrasts: The Gavotte
...
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【SA
【saxophone-practice-eb】-gounod-bach
【Saxophone Practice Eb】
【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Gounod Bach Ave Maria Well-Tempered Klavier No.1
古諾 巴哈 聖母頌 平均律
古诺 巴哈 圣母颂 平均律
グノー バッハ アヴェ・マリア
Saxophone 薩克斯風 サクソフォーン Saxofón Play-Along accompaniment
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Saxophone #Gounod #avemaria
Note: Pitch shift to Eb for alto saxophone practice.
音高調至 Eb 中音 薩克斯風 練習 用
Eb Alto Saxophone practice playlist 中音 薩克斯風 練習 清單
https://www.youtube.com/playlist?list=PLu81SiUmmTCBgQ4rMCB2lcASYMhuxS76j
Original Score:
https://www.youtube.com/watch?v=kgFT-QYeW4w
...
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WHAT
what-a-friend-we-have-in-jesus-恩友歌
【Kero MyPlay Saxophone】
What a Friend We Have in Jesus 恩友歌
Christian hymn
Saxophone 薩克斯風 サクソフォーン Saxofón Play-Along accompaniment
#Saxophone #Friend #Jesus
Yamaha YDS-150
原曲/Source
https://www.youtube.com/watch?v=LarFhGeE-ac&list=PLnfLWA7T4bvvCiTY7Mcjj5nCbzYd3YyLJ&index=82&ab_channel=Acapeldridge
----- What a Friend We Have in Jesus
What a Friend we have in Jesus, all our sins and griefs to bear!
What a privilege to carry everything to God in prayer!
O what peace we often forfeit, O what needless pain we bear,
All because we do not carry everything to God in prayer.
Have we trials and temptations? Is there trouble anywhere?
We should never be discouraged; take it to the Lord in prayer.
Can we find a friend so faithful who will all our sorrows share?
Jesus knows our every weakness; take it to the Lord in prayer.
Are we weak and heavy laden, cumbered with a load of care?
Precious Savior, still our refuge, take it to the Lord in prayer.
Do your friends despise, forsake you? Take it to the Lord in prayer!
In His arms He'll take and shield you; you will find a solace there.
Blessed Savior, Thou hast promised Thou wilt all our burdens bear
May we ever, Lord, be bringing all to Thee in earnest prayer.
Soon in glory bright unclouded there will be no need for prayer
Rapture, praise and endless worship will be our sweet portion there.
"What a Friend We Have in Jesus" is a Christian hymn originally written by preacher Joseph M. Scriven as a poem in 1855 to comfort his mother, who was living in Ireland while he was in Canada. Scriven originally published the poem anonymously, and only received full credit for it in the 1880s. The tune to the hymn was composed by Charles Crozat Converse in 1868.
The hymn also has many versions with different lyrics in multiple languages. The Handbook to the Lutheran Hymnal notes, "In spite of the fact that this hymn, with its tune, has been criticized as being too much on the order of the sentimental gospel type, its popularity remains strong, and the hymn retains a place in modern hymnals." In some settings, the lyrics have been matched to other tunes such as the Welsh "Calon Lân" (originally wedded to the Welsh poem translated as "A Pure Heart").
《恩友歌》，或作《耶穌恩友》，是一首基督教讚美詩，詞作者為約瑟夫·史克來芬。身為遊子的史克來芬，於1855年，在加拿大寫給遠在家鄉愛爾蘭的母親的一封家信中夾了一首親手寫的讚美詩，以表對母親的安慰。
最初這首詩是以匿名發表，然而直到30多年後，它才受到人們的賞識。1868年，一位美國律師查爾斯·C·孔文士（同時為當地教堂的頌歌作曲也是他的工作之一）為其譜曲。美國著名作曲家、鋼琴家威廉·埃爾登·博爾科姆，1938-） 也有為這首聖歌配過樂。
這首讚美詩擁有許多版本，有著不同的填詞，不同的語言。在第一次世界大戰期間，士兵們以戲謔的方式將此曲改編為「When This Lousy War Is Over」（當這場糟透的戰爭結束時）。
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https://www.youtube.com/watch?v=7MmuKJsF88k
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空笑夢-空笑梦台語-老歌-台语
【Kero MyPlay Saxophone】
空笑夢 空笑梦
台語 老歌 台语
Saxophone 薩克斯風 サクソフォーン Saxofón Play-Along accompaniment
#薩克斯風 #Saxophone #空笑夢
----- 空笑夢
為妳啊 的形影 暝來肖想 日牽掛
是誰人 拆分散 情無結局 就變卦
恨世間 愛情啊 空笑夢 一場風聲
夢醒來 只有我 名是寂寞 字看破
為妳啊 的形影 暝來肖想 日牽掛
是誰人 拆分散 情無結局 就變卦
恨世間 愛情啊 空笑夢 一場風聲
夢醒來 只有我 名是寂寞 字看破
王中平（1967年6月30日－），本名韓志偉，臺灣男歌手、演員，生於屏東縣，
1992年9月，王中平推出第一張國語專輯《向天要一點愛》。1995年3月，王中平推出第一張個人台語專輯《空笑夢》。
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https://www.youtube.com/watch?v=Xfp2tMS2SPg
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