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17

Beethoven got close in the final movement of his last piano sonata (the relevant part is from 0:30 to the end of the video)


5

I would rely on Christoph Wolff's excellent Johann Sebastian Bach. The Learned Musician (published 2001), which features an entire chapter about Bach's great interest for previous and contemporary composers, and also his Bach: Essays on his Life and Works. You should probably focus on the German "fathers" of Bach's keyboard style (other Bachs, Pachelbel ...


5

Yes. The slur just indicates that the note should touch the preceding note, but it's still played on time and ended according to the staccato dot. Basically, a slur does not change the last note it reaches but only the notes before it.


4

I don't know how much the boogie players were classically trained on average, but to answer the question "Is there anything in the pre-20th century classical canon that resembles the boogie-woogie bass line" the Alberti Bass, as pointed out by Laurance Payne, sure comes to mind. But I would add a number of pieces by Bach. Take for example the second prelude ...


3

I suppose you could draw a comparison with the Alberti Bass. https://en.wikipedia.org/wiki/Alberti_bass


2

Coda means "tail" in Italian. It's a tail-end part of a longer piece. A coda may be used however a composer wishes: to extend a cadence, to recapitulate some material, even to introduce new material.


1

The architecture of Sonata Form is Theme 1 (in the tonic key), Theme 2 (in a contrasting key), Development (mess around freely with themes A and B), Theme A (tonic key), Theme 2 (modified to be also in the tonic key. There may also be an introduction, for which the technical name is "Introduction" :-) And maybe a tailpiece, wrapping up the whole piece, for ...


1

Ragtime can be considered as one of the precursors to boogie woogie. Ragtime itself came initially from rearranging marches by the likes of Sousa (considered part of the classical tradition) for piano whilst adding in polyrhythms. The rhythmic changes are in some part down to the limitations of piano orchestration as opposed to marching band orchestration ...


1

I learned to play the classical guitar when I was a kid, and later continued to music school for nearly 3 years. After a few years of not playing at all, I got the urge to start learning flamenco after spending some time is Andalucia (southern Spain) and watching flamenco shows there. From my experience, there are pros and cons to starting with classical ...


1

Thanks to the comment by alephzero, we can figure the whole thing out easily. The notation rules are that any expression, technique, or instruction text starts in the music where the start of the above appears. This is also how notation software works. If you were to start execution at the end of the instruction then the position in the music would depend ...


1

A crescendo applies until contradiction, either up to a decrescendo (then it remains unclear, which level to achieve) or to an absolute volume indication. If I see correctly, in the bar below yours marked with (1) the seems to be a piano marking directly beneath the octave transposition. Assuming, that (due to the metronome marking in the upper left) there ...


1

The crescendo starts where the word "cresc." is. It SHOULD lead to an explicit dynamic, and unless very short should be extended with a dotted line to indicate the extent. The composer here is being rather imprecise in indicating what he wants.


1

Cresc., or crescendo, means getting gradually louder than it has been. It starts where your 2 is. It'll continue getting louder until there's another sign, maybe an f or ff, at which point, the volume will level out until another sign is shown. It's shown in the bar marked 1, in anticipation for the start of the next bar, although with a gradual cresc. it ...



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