E-flat major

Right.

E-flat, George.

I told you.

E-flat.

Yeah.

E-flat.

I can play in E-flat, Dave.

Can you play in E-flat without a capo? That's what I want to know.

We'd get in this room, and he had his Wurlitzer in there.

And I can't remember the note, but he said one day, he said, this room is in E-flat or something.

I can't remember the note.

But you would hit that note, and it vibrated in a way that no other note did.

People think it's all about the size, when it's about the color and it's about the squealo within that sound that matches up so that you can cut over and through some of these larger orchestras.

And if you've got somebody that can help you find that elasticity that takes you from, you know, from your low G all the way up to the E-flat above high C, then, you know, I sit back and look at you and say, do it.

Run on it.

Get Sufiaco.

Oh.

Oh, he gets, he gets obsessed with that E-flat there.

Oh.

But you think, oh, he's abandoned the melody.

for very young beginners with weak fingers the scales should be practised only piano until the fingers acquire strength i should continue in this way with you for two weeks but every day with some slight change After a short time I would combine with this practice the study of two or three pieces, suitably arranged for the piano.

For example, Mozart's Minuet in E-flat, arranged by Schulhoff, and his drinking song, or similar pieces.

We will, at present, have nothing to do with Beethoven.

You are, perhaps, afraid that all this might be tedious, but I have never been considered tedious in my lessons.' i wish you for the present not to practise any pieces or exercises except in my presence until a better touch has been thoroughly established you must also give up entirely for a time playing your previous pieces for they would give you opportunity to fall again into your faulty mode of playing i shall also soon put into practice one of my maxims in teaching that is that merely for the acquisition of mechanical facility all my pupils shall be in a habit of playing daily some appropriate piece that by its perfect mastery they may gain a fearless confidence they must regard this piece as a companion friend and support i wish you to learn to consider it a necessity every day before practising or studying your new piece of music to play this piece even if it is done quite mechanically two or three times first slowly then faster for without ready flexible fingers my teaching and preaching will be valueless but

Now, Lizzie, sit down and play something.

She chooses a cavatina from the pirates with variations.

The introduction begins with E-flat in unison.

Lizzie strikes E in unison, and the same in the bass, and exclaims,

Whether or not this love affair was as serious as some have maintained, the Countess preferred Count Gollenberg to the turbulent composer, and accordingly married him.

in such a setting beethoven undertook his second symphony this work however reflects his tragedy only here and there and in a richer romanticism than his music had previously expressed a romanticism of the nineteenth century as in the case of the first symphony the second in d major has a slow introduction adagio but this introduction is much longer and though based in style on haydn's symphonic introductions is instilled with the new romantic freedom and contains a surprising prediction of the ninth symphony in a descending octave passage the allegro con brio that follows starts off with a buoyant theme which sets the pace for an energetic and generally cheerful movement it is in the ensuing larghetto in a minor that we hear in full proclamation the individual voice of beethoven as we have not heard it before this has been aptly called one of the most luxurious slow movements in the world and its richness in melodies has been set down as reckless here are two of them the next movement again in d major is this time called frankly scherzo not a minuetto this concise allegro is particularly noteworthy for the prophecy in its trio of the trio of the scherzo of the ninth symphony the finale allegro molto in d is a forthright humorous rondo in view of the tragedy of that summer this symphony at once romantic and exuberant might perhaps be best looked upon as an escape brought out on april five eighteen o three at a concert of beethoven's works given by the composer at the theater an der wien vienna it was coolly received being regarded by many listeners as extravagant or enigmatic symphony number three in e-flat major heroica opus fifty five beethoven's next symphony though begun in the summer of eighteen o three was not completed till the following year as long before as eighteen o two beethoven had declared his dissatisfaction with his works up to that time from to-day i mean to take a new road this symphony boldly takes that road the second symphony still belongs largely to the eighteenth century the third embodies the development with which beethoven revolutionized the symphony in amplitude and opulence no previous symphonic movement had ever equalled or even approached the initial allegro con brio and it may be doubted whether any has subsequently surpassed it sensitive listeners hearing it for the first time may well have cried out with miranda oh brave new world there ensues a funeral march that is one of the most tremendous lamentations conceived in any art the scherzo is not only the first but one of beethoven's symphonic scherzos it is also among the greatest for the finale beethoven provides a theme in variations of astonishing diversity and splendor the first and dominating theme of the allegro con brio beethoven very likely remembered from mozart's little bastien bastien overture but he uses it here in the grand manner the funeral march begins with a striking phrase in c minor a tender lyric passage in c major introduces an elegiac element into the sternness of the dirge the scherzo allegro vivace in e flat major is an enormously energetic movement and is interrupted by a trio prophetic in its turn of the ninth symphony and including a particularly brilliant and difficult passage for the horns The theme of the concluding variations, Allegro Molto in E-flat major, Beethoven had previously employed in his ballet The Creatures of Prometheus.

This theme, simple as it appears, contains the germ of one of the most remarkable sets of variations ever put down on paper.

The Third Symphony is universally known today less by its number and its key than by the title Eroica, Heroic.

The B-flat quartet, sixth of the series, is particularly significant for the somber adagio beginning of its otherwise jubilant allegretto finale.

beethoven has headed this introduction which is called dramatically during the movement melancholy this piece must be played with the greatest delicacy this eerie and wholly romantic movement is a true glimpse of the beethoven into whose newer world we shall presently penetrate with the three monumental quartets of opus fifty nine we have entered this new sphere they belong to the year eighteen o six which means that they are of the epoch of the fourth and fifth symphonies the third leonore overture and the violin concerto and the g major concerto for piano beethoven dedicated them to the russian count razumovski whose name is thus imperishably linked with these masterpieces and it was perhaps as a compliment to this nobleman that he introduced into the first and second of these works authentic russian themes indeed the scherzo of the e minor quartet utilizes that great melody around which more than a half century later mzorgsky was to build the coronation scene of his opera boris the razumovsky trilogy exhibits beethoven's inventive and technical faculties at the ideal symmetry they have achieved at the flood-tide of his so-called second period the f major c major and e minor quartets are in some ways the most ideally balanced ones he ever wrote and with all their splendor of form and substance they are still replete with the most astonishing originalities and departures indeed the amazing allegretto scherzando movement of the f major quartet so astounded the players who first undertook to perform it that they imagined beethoven's rhythmic motto theme was intended as a joke at their expense and almost refused to go through with it the adagio on the other hand develops with the utmost richness of sonority and color possible to four stringed instruments two gorgeously song-like themes till it seems as if they had become expanded to orchestral dimensions the e minor quartet less a display piece than its companion works is in a totally different and quite as unprecedented manner while its slow movement molto adagio sounds a deep spiritual note which seems to have been inspired in the composer by a nocturnal contemplation of a starry sky in the country around baden near vienna As for the C major quartet, the third of the Razumovsky set, it closes in a jubilant, sweeping fugue which is like a paean of triumph.

There are two E-flat quartets in Beethoven's output.

The first, Op.

Nevertheless, I practised till eleven o'clock, half an hour at a time, and noticed that I was gradually getting better.

In the evening I had my D-flat and E-flat at my command, and was in brilliant form.

People said they had seldom heard me sing so well.

I could give numberless instances, all going to show that you never can tell early in the day how you are going to feel in the evenings.