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・ Prem Nagar, Bhiwani
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・ Prelude Hybrid IDS
・ Prelude in A minor, Op. 51, No. 2 (Scriabin)
Prelude in A-flat major (Rachmaninoff)
・ Prelude in B-flat major (Rachmaninoff)
・ Prelude in C
・ Prelude in C (Bach)
・ Prelude in C major
・ Prelude in C major, Op. 11, No. 1 (Scriabin)
・ Prelude in C minor
・ Prelude in C Minor (BWV 999)
・ Prelude in C minor (Rachmaninoff)
・ Prelude in C minor, BWV 999
・ Prelude in C-sharp minor
・ Prelude in C-sharp minor (Rachmaninoff)
・ Prelude in C-sharp minor, Op. 11, No. 10 (Scriabin)
・ Prelude in D major (Rachmaninoff)
・ Prelude in D minor (Rachmaninoff)


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Prelude in A-flat major (Rachmaninoff) : ウィキペディア英語版
Prelude in A-flat major (Rachmaninoff)

The Prelude in A-flat major, Op. 23, No. 8, is a 1903 composition by Sergei Rachmaninoff.〔Norris, Geoffrey, ''Rachmaninoff'', Schirmer Books, 1993 (pg. 170).〕〔''Id.''〕 It is part of Rachmaninoff's Ten Preludes, Op. 23.
== Structure ==
The work is three-part ternary; however, it assumes monothematic characteristics. The first occurrence Section A comprises measures 1-19, Section B of 19-43, Section A returns from measures 43-70, and the coda is placed at measures 70-78.
A right hand figuration extends over a descending quarter-note melody in the first two bars, outlining the A flat chord. This motive repeats, and then is varied in measures 5-8, in succession. From measures 9-18, the section is restated though a transient modulation to E major (at measure 15). An imperfect cadence in the tonic bridges the transitory gap in measure 18 to the B section in E flat.
Measures 19-20 introduce a variant of the main motive. Now in a new key, the bass melody changes, descending chromatically in an eighth-note figure.
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Measure 19
A transition section comes together though the combination of ascending and descending chromatic scale fragments at measures 31-41. Vertiginous modulations swing through E flat - G - C - F - A flat and B flat, before settling into E flat at measures 39-41.
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Measures 31 and 32
The original statement occurs beginning at measure 42, and then a progression at measures 54-62 through F- B flat - D flat and F minor provides a link to measures 61-70, where the harmonies become vague and undistinguishable:
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Measures 61 and 62
The coda exhibits a gradual breakdown of the forward motion, and, with a quarter-note progression in the final three bars, the A flat tonality is reestablished.
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Measures 76-78

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