7 Fun Facts about Prelude No. 7
1. Within my Nine Preludes for Piano Solo, Prelude No. 7 is symmetrically opposite the other scherzo-like prelude, No. 3,
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Author: Robert Cunningham
Aspirations
In high school, I was the quintessential nerd, known chiefly as the school math whiz and as an intense chess
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Prelude Sets and the Circle of Fifths
The Circle of Fifths is usually used to illustrate the keys associated with key signatures, with increasing numbers of
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The Structure of Romance
The romance genre is by nature lyrical, and the two themes in my Romance for Oboe and Piano both fit
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Vibrations of Sympathy
The violin was the first instrument I studied formally, and I took my first lessons around the time of my
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Mental Practice
If you are a serious pianist who practices regularly, then hours after your practice session has ended, it is likely
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The First Recital
The newspaper clipping (at left below), which I believe is from the Raleigh News and Observer, dates from my senior
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From Beethoven to Shakespeare
During my early years as a composer, I put on quite a few musical soirées, and one of the most
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The Forgotten Nocturne
Many of my listeners are familiar by now with my two piano nocturnes, both of which can be heard on
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Coming Back
In past posts to this blog, I have described the musical soirées I started putting on in my home in
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Vincenzo Galilei and the Lament
I composed my Lament for Flute and Piano in 1991 but did not attempt to get it performed at the
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A is for Ambiguity
An intriguing feature of my Romance for Oboe and Piano is the ambiguity between A-natural and A-flat. In the piece’s home
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Rhapsodic Harmonies
Harmonically, a typical classical work begins by defining the tonality to the listener, through the use of tonic flanked by
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Equal Divisions of the Octave
A significant feature of the chromatic harmony in late Romantic music is the use of nontraditional harmonies to convey subdominant
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