Alteration signs (about Diez, Bemole, Becar). How to play high notes on the tube of bempoli and digesters for pipes which valve

School Games on a pipe from Rosati, free translation

Tube lessons. Breath

An important step of respiratory act is cleaning and thorough analysis.
Here are three main types of breath:
1) nasal - only through the nose; Slowly, good for long and controlled sounds and whole phrases when playing a pipe.
2) rota - through the corners of the mouth; Common and experienced for speed. Helps keeping an ambush when playing a pipe.
3) combined - through the mouth and nose; For more confident performers, which gives a reinforced result, unlike the first two.

Note: It is also advisable to breathe through the tool or mouthpiece, exhalation; This method will help in training lips and open teeth.

Tube lessons. Pipe or Finger Valve Combination

Retreat:
How many positions on the pipe can be if it has 3 valves? For someone familiar with the combinatorics, it is elementary: the positions of the valves n \u003d 3! \u003d 1x2x3 \u003d 6, taking into account not pressed valves, there will be 7 positions.
They must be remembered:

1 position - no valve pressed;
2 position - the second valve is pressed;
3 position - the first valve is pressed;
4 position - 1 and 2 valves are pressed;
5 position - 2 and 3 valves are pressed;
6 position - 1 and 3 valves are pressed;
7 Position - 1 and 2 and 3 valves are pressed.

Tube lessons. Staccato

Priority of actions:
- make a good breath, putting forward the jaw forward;
- dial air, placing a tongue between lips;
-Some jet air under pressure;
- I mimic the "spittle" language.

When playing the pipe, the sound should be distinct with good air, loud and ringing. At the same time, as if they pronounce a short syllable "TA". Choose a suitable moment to understand the mechanism of action of the language and air flow when the game is glass on the pipe. Position the language between the lips (as the valve), blocking the path of the air, then quickly remove it, back and return with the air supply.

This is a natural movement, familiar to everyone and seems to move the "spittle", but before you need to perform the following sequence:
- keep the jaw put forward forward;
- make a breath through the nose or corners of the mouth;
- Hollow the language, almost touching the mouthpiece;
- hold the air, before whining;
- Slightly mind your lips on the mouthpiece;
- Pronounce the word (for those who speak English is easy).

This arrangement of the language gives space in the sky for air passage. Mouth and language in the formation of a sound attack when playing a pipe.

For performers of the countries of the former Union, it will be more understandable to position the language as with the "spit." If you dwell on the pronunciation, the first consonant in the syllable is a slit sound with a voice, it is necessary to form a slot between the front edge of the tongue and the upper teeth. The second voice [a] is an unclear sound similar to the Russian "A" under the emphasis. And the last consonant [H] is just an exhalation. Differences of performing schools game on copper brass instruments.

Stakkato heavy exercise for the game on the pipe, but not more than other exercises. Remember, however, that there are different types of Stakkato. The physiological structure of the jaw and mouth also plays an important role, so it is necessary to look for your own formulation of the ambush. In order to decide how easy it is to play on Stakkato tube, you need to experiment with the position of the language and lips.

For example:
- the language is exactly in the middle not too nominated forward;
- language just below the middle;
- the language is exactly in the middle nominated forward;
- language just above the middle.

All listed options, when playing a pipe fit for different types of staccato. Pickup notes for Stakkato and make exercises, resting between them. Breathe smoothly and slowly. Listen to yourself and other performers, comparing and analyzing. Any air from the bottom of the abdomen, do not play with Lenza!

There are alternative options with easier language staccato, - to arrange the language over the end of the arches of the teeth, inside and attached to the gum, pronouncing sounds and. In practice, you will understand that light stakkato (inside) is best suited for an accurate, clean and fast tube game than a heavy stakkato (outside), which is best suited for a military or jazz style game on a pipe.

Sequence and Pose when approaching Stakkato:
- to the instrument to the prepared jaw;
- Attach breath, locking the ambush and language;
-Some air immediately removing the language;
- Lip vibration will give a full sound when playing a pipe.

Tube lessons. Valuable comments

To start playing on the pipe and play music, it is very useful to use the metronome. Make sure you will hear it and set to speed from 60 to 80. Get used to, use the metronome all the time when playing on a pipe of any exercises, changing the speed. Try to do an exercise using all 7 positions from top to bottom. You need to learn how to read sheet music. Pickup notes and practice.
First, it will be a little difficult to play "Right Sounds". You must learn to use the exact amount and speed of the airflow for each specific note. The essence of the game on the pipe is as your airflow, and therefore it is extremely important to create a stable and serial air column to fill the tool with the sound. The air flow must be assembled into the jet and not spray on the sides.

Keep your lips assembled, especially in the corners of the mouth. Vibration should occur between lips - air - mouthpiece, and not only between two lips! Remember: If you put on the lips, you will have a bad sound, and they get tired very quickly. Forgive to create more or less airfield pressure.
The setting is crucial how to observe the position of the muscles of the face, chin, head, teeth and body position. Learn to read and sing notes, make sure of them with real sounds, and distinguish them not only by names.

To be continued

(IT.- tROMBA., FR.- trompette., not. Trompete., eng. trumpet.)

The history of the pipe occurs goes to the distant past and is currently difficult to establish who among the ancient peoples owns its invention. The natural tube was used as a signal tool.

In the era of the Middle Ages, the straight metal pipe is already used not only as a signal tool, but also to accompany all sorts of solemn ceremonies and rituals. We used this tool only nobles and knights. The European pipe was called BуSINE (Starofr.- Buisine). The first mention of the use of pipes in Russia belongs to the X B.

Already at the beginning of the XIII century. There was a separation of pipes to high (distant) and low (bass). Subsequently, the pipe, like the French horn, began to be divided into low, medium and high different buildings. In the XVII century More often than others were used tools in the order of re, before, later the Si-bemol, made by German musical masters of Schmidt, brazen, Heinlein, Faith and English masters Dudley and W. Bul. At the turn of the XVII-XVIII centuries. Some of the best were pipes I. Has from Nuremberg. Tools were made of copper, bronze, silver. In the XVIII - early XIX century. The most common pipes are building a FA with additional crowns in the buildings of Mi, Mi-Beleol, re-Bemol and before. During this period, pipes made at the Moscow Factory of Musical Instruments by Russian masters N. P. Kotelnikov, D. and S. Mikhailovy and I. S. Khrukovitsky were widespread.

With islement at the beginning of the XIX century. The valve mechanism natural pipes began to be gradually crowded with chromatic, and at the end of the century and they were completely out of use. From the numerous family of pipes, the tools of medium-sized structures were used more often than others: Mi-Belets, Mi and Fa. Their lower and middle registers were distinguished by a wide full sound, the upper sound sounded intensively and represented a greater difficulty for performers.

In the late 80s of the XIX century. New chromatic pipes of high buildings were designed: la, c-bembol and up. They became possible to remove all the sounds of the second octave. The most successful of these tools was the co-bembol coated pipe, which is also consumed at present. In France, Belgium, Switzerland and some other countries, the largest distribution in performing practices has received a pipe building up. In Russia at the beginning of the XX century. More often than others were used by the valve pipes of the company Yu. G. Tsimmerman.

Currently, the tools of the French firm "Selmer" and American Bach - Stradivavius \u200b\u200breceived widespread. For pop and jazz orchestras, pipes of special designs are manufactured adapted to extract high sounds.

Or spare trumpet Made from brass or tompaca (copper alloy with zinc). It consists of a cylindrical tube with a length of about 1.5 m, a diameter of about 11 mm, turning into a conical, and mouthpiece in the form of a crescent. The trunk will be bent twice and represents a single whole with a socket. Pipe application is similar to Cornet's applicature (see example 97). The pipe building a C-bembol is a transposher tool. It is noted in a violin key, it sounds a big second below written. Range and characteristics of registers (by writing, see example 92).

The pipe is the highest of copper brass instruments. Its sound is characterized by force, glitter and at the same time ease and mobility. The valid tool mechanism allows you to brilliantly perform all sorts of passengers, arpeggio, jumps, valve trills, single, double and triple staccato. It is also possible to receive a fruhalato, having some similarity with the fraction of a small drum. During the execution process, various types of sucindes are often used, which serve mainly for artificial change in the tone of the instrument.

Truck varieties.

Pipe Piccolo Building the Siberia and La was designed for solo execution of old music (Clarino style, etc.), as well as for the execution of high-register pipes in the orchestra (Spring Spring, I. Stravinsky, "Bolero" M. Ravel, "Naughty Chastushki "R. Shchedrin, etc.).

Pipe-Piccolo Building Si-Beleol sounds octava, while building a large septimed above the main tool. The tool has four valves. The fourth valve is used to extract the four lower sounds (to expand the down tool), as well as for more accurate intonation of some non-stroke sounds.

Small trumpet Building re and mi-bembol. The tool was designed to perform high-tubes in some works of Bach and Handel. This tool also used in their works of Roman Korsakov and Wagner. A small pipe building re-tuned by a large policy, and building a Mi-Bembol - pure quarthouse above the main tool. The design and technical capabilities of a small pipe are similar to the soprana tube.

Alte pipe Building Fa and salt. The tool is designed at the initiative of Roman Corsakov in order to achieve a larger sound of a low register. For the first time, Rimsky-Korsakov applied this tool in the "Mlada" opera and a number of other writings. Then it was used in some of his works of glazing. The alps pipe building Fa is set to clean quart, building salt - a small prison below the soprano tube. Technically, this tool is less imperative than the main one.

Basic trumpet Building to, re, Mi-bembre. The tool was built on the initiative of R. Wagner, which used bass pipes in the tetralogy "Ring Nibelung". Jotted in a violin key. Subsequently, a bass trumpet building a C-bemole, sounding the octave below the main tool was constructed. The technical capabilities of the bass pipe compared to sopranos are more limited. This tool has a timbre, similar to timbresses of trombone and horn simultaneously. It is used very rarely.

Greetings Dear blog readers Website. In this part we will look at what the dieza, a bear, a bimol, but for the beginning we will need to remember the materials of this. This is the structure of the octave:

In the figure above, we see the basic seven steps - this up, re, mi, fa, salt, la, si. Now note that the black key is adjacent between white keys. This key is located on the right side of the key. before and on the left side of the key re. This moment we intentionally emphasize, as the same key (note) is either on the right side or on the left side: it all depends on what neighboring key to look.

Now this is the neighborhood of keys (i.e. notes) Consider from the point of view of music in the FL Studio program or using the piano (piano, MIDI-keyboard), etc. The most important thing we need to see these keys. Run the program and add (i.e. piano) or if you have a piano, you can, check us, pressing the keys and listening to the height of the sound.

In FL Studio to see all the notes you need to go to.

So: Now we are considering notes that are within the 1st octave. Note ( before) on sound below notes ( re). And accordingly, notes ( re) sound above the note ( before). Well, between these notes (before) and (re) there is another note, which is represented by the black key on the keyboard. Sound, this black key above the note (up to) and below notes (RE) i.e. The middle of these sounds.

What is diges?Dieza is an increase in the main stage on the halfthon. For example, consider the sound of the black key, which is near the note (up to). The sound that makes the black key, will be higher on the halfone - this phenomenon is called the word dishes. Remember that the increase in sound is called the word dishes. This sound is considered a derivative stage, and therefore he does not have its own name. In this case, the name of the main stage is used. In our example it will be - dome.

Sharp denoted by a lattice symbol, look below in Figure:

In this picture marked a note of pre-diez. Without a grid, there will be (up to), but with a grid (pre-diez).

What is a fambra? Bemole is a decrease in the main stage on the halfth. For example, consider the same black key relative to the note (RE). The sound of the black key will be lower on the sound halfway (re). This phenomenon is called a word bemole. It is also a derivative of the step and does not have its own name and uses the name of the main stage. In our case, it will be a re-fambra.

In Figure below, we give the designation of the Bembay:

I think that you have already understood that one and the same note ie The black key may have different names depending on which stage to look. In our example, as I wrote above, the black key may have a name or "pre-dieze" or "re-bembol" - it depends on the notch that we take as a basis.

What is a double-bembre and dubl diges? With an increase in the main stage into two halftones (i.e., the tone) is called a double diezer. And when lowering the main stage to two halftones (i.e., the tone) is called a bemolem double. It is rarely used, but it is necessary to know what is also there.

Here you have a simple example: Pre-Double Dieza is a note re. And Re-Dubl-Bemolem is a note before.

What is Bekar? Bekar symbol cancels action dieza or bonol. Below in the figure in each clock before the third note it is worth this symbol. It is denoted by a lattice similar to the diezer, but different from her.

Now let's read these notes. You need to read from left to right, first clutches: up, re-Beleol, re (here before a note is a sign of a Bekar - who cancel the bembre, that I installed the second note), and again re. The second beat: re, pre-dieze, before (here also sign Bekar abolished the action of the diaway installed by the second note), notes before.

What is an alteration? Alteration is an increase and lowering sounds.

Consider the zone of action of alteration signs.

The zone of an alteration sign that is facing notewi is valid for all tact. These signs are called random. This random sign will act on all these notes of the same octave inside the current clock, or before the next random sign, or before changing the tonality.

Let's read the notes. Also from left to right, first clutch: up, re-fambra, re-bembre, re-faamole (here before the 1st notew, the Barol sign stands. It will act until the end of the tact, and reduce the following notes of re on the halfth). Second tact: re, pre-dieze, pre-dieza, pre-diezer (zone action sign Barol from the first time ended in the first tact, and therefore the second beat begins with the notes of re. Next, before the next note, there is a sign The end of the second tact will increase the following notes before on the halfth).

Important remark.

The sign of the sign will spread directly on the note in front of which it is supplied. In our case, in the 1st tact, the BEMOL sign acts only on the note of the re 2 ohtave. But if in the first time there would be another note of the 1st or 3rd octaves, then the badge of the Barol would not have acted on them.

These signs of alteration (BIMOL and DEZ) can stand not only in front of a note, but also when the key. These are the signs of alteration are called key.

Key alteration signsthey are located at the beginning of each notonic to the right of the key and operate on all notes, which are recorded on the corresponding rules in this notonic, before changing key characters. Also within the clock, the action of key characters can be canceled by random signs. The action of key characters will spread to all the work.

Here is an example of the use of digesters with the key:

Key characters show us that all notes are located in the corresponding lines of the noto-showing alteration signs in the key, will have to be reproduced with an increase or decrease in halftone.

Today we will talk about what Diez, Beleol and Becar, and how there are signs of alteration in music, and that generally means this word "alteration".

Let's first briefly explain to get very briefly, and then we will understand thoroughly. Let's start with the last of our question, namely what is an alteration in music? This is a Latin word that has the root of Alter, about his meaning can be guessed if you remember some single words. For example, there is such a word "alternative" (a particular solution to the choice), there is such an expression in psychology as Alter Ego (I). So, translated from Latin Alter means "Other". That is, this term always characterizes either the existence of several different versions of the phenomenon or object, or some change.

In music, the alteration is a change in the main steps (that is, the change in ordinary notes to the reina in Sol La Si). And how can I change them? You can or increase them, or lower. As a result, as it were, new options for these musical steps (derivatives) are formed. Increased notes are called Diens, and lowered by bembols.

Alteration signs

Since we have already noted that the notes are recorded sounds, that is, graphic signs. And to record the main notes in different octaves, a notable mill, keys, rules are used. And to record modified notes, too, there are signs - alteration signs: Dieza, Bemoli, Bekary, Dubl-Dieza and Double Bemoli.

Sign Diez. It looks like a lattice on the keyboard of the phone or, if you want, like a small ladder, he tells us about raising notes. The name of this sign comes from the Greek word "Dies".

BIMOL sign Signals us about a reduced note, it looks like English or the Latin printed letter "BE" (b), only the lower part of this beacon is pointed (it looks like an inverted droplet). The Bömbol is a French word, albeit with Latin etymology. The term is formed by very simple elements: "Be" is the letter "BE" (B), and the "mole" means "soft", that is, a bembre is just "soft b".

Bekar sign - A very interesting sign, he cancels the effect of bemoles and digesters and indicates that it is necessary to play a regular note, not increased and not reduced. By writing a bear slightly angular, it looks like a number 4, only a closed on top is not a triangle, but a square, and it also looks like the letter "BE" (B), only the "finished" and with a stroke. The name "Becar" has a French origin and translates as a "square BE".

Dupal, There are such, it is used for double enhancement notes, it is a diagonal cross (almost such a cross, which is written when they play in the noliki cross), only with extended, slightly rhombid tips.

Bleol Accordingly, it speaks of a double decrease in the notes, the principle of recording this sign is the same as the English letter W (double V), not one, not one, but at once there are two bemoles.

How do Dieza and Bemoli change notes?

Let's start, perhaps, here is from such an observation. Everyone who looks at the piano keyboard will notice that it has white and black keys. And with white, then the keys are usually clear, it is precisely for them that you can play all familiar notes to the reina in Sol La Si. To find a note before on the piano, we focus on the black keys: where the black keys are two, to the left of them and is not the note before, and all the other notes come from to a row. If you are still poorly dealing with the piano keys, we recommend that the material is recommended.

And why then need black? Just only for orientation in space? But on black, the so-called dieza and bempoli are played on black - elevated and low notes. But this is a little later, and now you need to deal with the principle. Dieza and Bemoli are raised or lowered notes on halftone. What does this mean and what is halftone?

Haltone is the smallest distance between the two sounds. And on the keyboard, the piano halftone is the distance from one key to the nearest neighbor. Moreover, both white and black keys are taken into account - without skipping.

The halftone is formed when we climb the white key to the next black, or when, on the contrary, we descend from some black on the nearest white. And there is still a halftone between white keys, or rather between the sounds of Mi and Fa, as well as si and before. Look carefully on these keys - there are no black between them, nothing shares them, it means that they also close one to each other and between them, too, halftone. We recommend these two unusual halftone (Mi-Fa and Si-up) to remember, they will then be more useful for you.

Dieza and Bemoli on Piano Keyboard

If the diezer increases the note on the halftone (or you can still say half the tone), then this means that when we play diges on the piano, you need to take a note on the halftone above (that is, the main one's neighbor). For example, if you need to play before-diges, we play the nearest black key from to, which is on the right of white to (that is, we take halftone towards the increase). If you need to play a re-dispesis, then we do the same: we play the following key, which is higher for halftone (black to the right of white re).

And what to do if there is no black key next to the right? Remember our white halftone Mi-Fa da Si-up. How to play Mi-Diez, if there is no black key to the right of it in the direction of increasing, and how to play a Si-Diez, who has the same story? And all by the same rule - we take a note on the right (that is, in the direction of increasing), which is halftone above. Well, let it be not black, but white. It happens that - the white keys here are getting out each other.

Look at the picture, here all the digesons are signed on the keys of the piano, which are in Oktave:

And about the bemoli you probably guessed yourself. To play a bramole on the piano, you need to take the key to the halftone below (that is, in the direction of the decrease - on the left). For example, if you need to play a re-boom, then we take the black key to the left of the white re, if the Mi-bemole, then to the left of the white mi. And, of course, in the white halftons, there are no more notes of each other: the fa-bemol coincides with the mi key, and a pre-bembol - with si.

On the picture now all the bembods on the piano keys are signed:

What with double-dees and double-beams?

And double-dishezes and double-bempoli - double enhancements and double lowering, of course, change the note at once on two halftone. Two halftone are two half of the tone. If you connect two halves of something, then something is one thing. If you connect two halftone, then one whole tone will be.

Thus, it turns out that the dubl diges increases the note immediately to the whole tone, and the double-boar lowers a note on a whole tone. Or two halftone, if you like it so much.

How to talk and how to write?

Rule number 1. Here we are all saying: Do-Diez, Re-Diez, Mi-Beleol, La-Barol. But it is necessary to write in the notes differently, on the contrary - diez-to, dieze-re, bemoles, bemole la. That is, the sign of the diezer or the fambra is placed in front of a note in advance, as if a warning sign for the motorist. After the note, it is too late to put a bemole or dish, because a white note has already been played, because it has already been false. Therefore, be sure to write the desired sign should be kept before not.

Rule number 2. Any sign must be put exactly on the same line where the note is written. That is, the sign should be side with a note, he like a guard guard her. But the dieza and bempoli, which are not written on those rules or in general fly somewhere in space - incorrect.

Key and random dishes and bempoli

Dieza and Bemoli, that is, alteration signs, there are two types: key and random. What is the difference? First about random signs. Here everything should be clear already by name. Random are those that come across in the music text by chance, like a mushroom in the forest. Random dieza or a fambra play only in the musical tact where he caught you, and in the next tact - the usual white note is played.

Key signs are those dieces and bempolines that are in a special manner next to the violin or bass key. Such signs, if any, are set (reminded) on each note line. And they have a special action: all the notes that are marked by Diemi or Bimoles are played with the key as digesters or bempolines until the very end of the musical play.

For example, if there are two deeles after a violin key - Fa and Before, then everywhere, where we will contact the fa and before, we will play them to dieons. True, sometimes these digesons can be canceled by random brochors, but this, as you already know, only at once, and then they play again as dishes.

Or another example. After the bass key, four bemoles are set - si, mi, la and re. What do we do? That's right, everywhere where we will get out these notes, we play them with bembols. That's all the wisdom.

The order of digesters and the order of bemoley

By the way, the key signs are never set after the key as it fell, and always in a strictly installed order. These orders of each respective musician must remember and always know. The order of digesters is such: Fa to salt re lama. And the order of bemoles is the same order of digesters, only a collar-across: si la re salt to the Fa.

That is, if there are three deeles with a key with a key, it will definitely be fa, up to and salt - the first three in order, if five, then Fa, up, salt, re and la (five digesters in order, starting from the beginning). If after the key we see two bemoles, then it will definitely be bemoli SI and MI. Do you understand the principle?

And now another important thing. The fact is that key signs are exhibited not only in a certain order, but also always on the same rules. In the picture, which will be presented below, you will see the correct location on the tinist mill of all seven digesters and seven bemoles in a violin and bass key. See and remember, and even better - rewrite several times to your notebook. Will the hand, as they say.

Designation of digesters and bemoles by alphabet

You probably have already heard that there is a system of sound signation of sounds. According to this system, the notes are recorded by the letters of the Latin alphabet: C, D, E, F, G, A, H. Seven letters correspond to seven notes to the reina in Sol La and Si. But for the designation of the changed notes, instead of words, the diges and the bemblings are added to the letters. IS suffixes (dishes) and ES (BIMOL). More about this and what features and exceptions are from the rules, you can read in the article.

And now - musical exercise. In order to better remember what a diezer, a farol and a bear and what their strength, along with the guys from the ensemble "Fidgets", find the song L. Abelian from the collection "Funny Solfeggio" about these signs (watch the video).

In this article, we will continue the conversation about a good letter - we will study the signs of the alteration. What is an alteration? Alteration - this is a change in the main steps of the skeleton (the main steps is to re mi fao salt ). What exactly changes? Their height changes and a little bit name.

Sharp - this is an increase in sound on the half bemole - Lowering it on the halfthon. After the note is changed, one word is simply added to its basic name - respectively, the diezer or a bembol. For example, pre-Diez, Fa-Diez, La-Beleol, Mi-Barole etc. In the notes, the dieza and bemoli are designated by special signs that are also called diemi. and bleols. Used and one more sign - natural, He cancels any alteration, and then, instead of Dieza or Bemol, we play the main sound.

See how it looks in notes:

What is halftone?

Now we will deal in everything more. What are these halftones? Semitone - This is the shortest distance between two adjacent sounds. Let's look at everything on the example of the piano keyboard. Here is an octave with the signed keys:

What do we see? White keys we have 7 pieces and on them are the main steps. It seems to be between them and so quite a brief distance, but, nevertheless, there are blacks between white keys. The black keys are 5. It turns out that a total of 12 sounds in octave, 12 keys. So, each of these keys in relation to the nearest neighboring is located at half a distance. That is, if we play all 12 keys in a row, then we will play all 12 halftone.

Double Diez and Double B Flat

In addition to simple digesters and bemoles in musical practice applied double Dieza. and Double Bemoli.. What is a duplicate is double changes in steps. In other words, double Diez. increases the note at once on two halftone (that is, for a whole tone), and double Bemol - lowers a note on the whole tone ( one tone is two halftone).

Natural - This is a sign of cancellation of the alteration, it acts in relation to the doubles is absolutely the same as to ordinary dieons and bemarins. For example, if we played fa-Dubl Diezand then after a while before not F Becar appears, we play a "clean" note "F".

Random and key signs

So, let's sum up.

We talked about alterations: I learned what an alteration and which there are signs of alteration. Sharp - this is a sign of raising on the halfone, bemole - this is a sign of lowering notes on the half, and natural - Alteration abolition sign. In addition, there are so-called duplicate: double Diez and Double B Flat - They increase or lower the sound immediately for a whole tone (whole tone - These are two halftones).

That's all! I wish you further success in mastering musical letters. Come to us more often, we will disassemble other interesting topics. If you liked the material, click "I like" and share information with friends. Now I suggest you to distract a little and listen to good music in the excellent execution of a brilliant pianist of modern Evgenia Kisin.

Ludwig Van Beethoven - Rondo "Rage about the lost penny"