Alberti bass

It has an Alberti bass in the left hand.

The opening theme is accompanied by an Alberti bass played in the left hand.

There is often a tune with a simple accompaniment using broken chords called an "Alberti bass".

A broken arpeggiated figuration in the left hand, such as an Alberti bass, was always understood to be played regularly.

Mozart successfully employs Alberti bass in this sonata.

These sonatas frequently employ a particular kind of arpeggiated accompaniment in the left hand that is now known as the Alberti bass.

The Alberti bass was used by many later composers, and it became an important element in much keyboard music of the Classical music era.

Here the left-hand part consists almost entirely of Trommelbass (in octaves, unfigured) or Alberti bass.

Alberti bass is a particular kind of accompaniment figure in music, often used in the Classical era, and sometimes the Romantic era.

A 24-bar modulating passage provides a quiet contrast before arriving at the second theme in E-flat, which is accompanied by an Alberti bass.

See also arpeggio in this list, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass.

Mozart's piano concertos are easy to like - sometimes almost too easy, with those rattling Alberti basses prominent in many of the major-key works.

Alberti bass is usually found in the left hand of pieces for keyboard instruments, especially for Mozart's Piano Pieces.

Well-known examples of Alberti bass include the beginning of Mozart's Piano Sonata, K 545.

The Alberti bass and arpeggios over diminished chords for the soloist recur before the movement ends in a cheerful final orchestral ritornello.

Alberti bass is a kind of broken chord or arpeggiated accompaniment, where the notes of the chord are presented in the order lowest, highest, middle, highest.

After a repeat of the opening 2 bars, an alberti bass is introduced for the left hand, whilst the right hand plays the melody based on the opening turning figure.

His late music contains elements typical of the early classical movement -e.g. the use of Alberti bass, quite dissimilar to Jean-Philippe Rameau or François Couperin.

It can seem at times, as routine performances pile up, that the Mozart major-key concertos, with their liberal use of repeated figurations in the left hand called Alberti basses, are invitations to mindless rattling.

The canonic material of the opening ritornello returns, this time involving the clarinet, and leads to the novel feature of the soloist accompanying the orchestra with an Alberti bass over the first closing theme.

Composer Tom Johnson came to the same conclusion, comparing the solo violin music to Johann Sebastian Bach, and the "organ figures (...) to those Alberti basses Mozart loved so much".

In its stead, simple patterns, such as arpeggios and, in piano music, Alberti bass (an accompaniment with a repeated pattern typically in the left hand), were used to liven the movement of the piece without creating a confusing additional voice.

There is little or no Alberti bass in baroque keyboard music, and instead the accompanying hand supports the moving lines mostly by contrasting them with longer note values, which themselves have a melodic shape and are mostly placed in consonant harmony.

His blind spots tend to be Bartók and Stravinsky -'especially when he is in what I call his 'wrong note' mode, like in the 'Pulcinella'Gavotte where he is deliberately a bar out with his 'Alberti bass'.

Similar Trommelbass accompaniments but filled out and not figured are rare in the published works of Eckard, whose left-hand parts, except for some long stretches of Alberti bass and other broken-chord patterns, are notable for their variety of texture.