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Playlist of G Minor

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  • How to Play - G minor

    3:20

    Hey everyone,
    Let's have a look at the G minor chord. This is definitely a step up from our first few chords, but with a bit of practice you will get there!

    Pat

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  • G Minor-

    8:23

    One of my favourite Flamenco-Rumba bands, Guitarra Azul, here is their YouTube and Facebook links:



    # # # # # # # # # # #

    Arranged by Luo Ni-
    -Piano Tiles 2(G Minor)
    Piano Sheet:
    MP3 File:
    Guitar version:

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  • G Minor Bach - Piano Tiles 2 Jacobs Piano

    3:22

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  • Chopin - Ballade No. 1 in G Minor

    9:47

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    Hope you enjoy my performance of Chopin's Ballade No. 1 in G Minor.

    Outro: Liszt - La Campanella

    Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday!

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  • 바흐 Bach G minor - Luo Ni | 피아노 타일 2

    3:19

    ????????‍????????????‍????Instagram :
    ????악보(Sheet Music) :
    ==============================
    피아노 타일의 명곡 바흐 G minor (Luo Ni 편곡)입니다.
    즐겁게 감상해주세요! :-)

    ==
    Bach G minor, arranged by Luo Ni in Piano tiles 2.
    Hope you guys enjoy it. :-)

  • G Minor Scale & Chords All Scales & Chords Tutorial #26

    1:20

    CHECK OUT MY BEST MUSIC & TUTORIALS here:

    Here is a quick Piano Tutorial illustrating the G minor Key and its Chords.

    The G minor Scale is the 11th minor scale in the Circle of Fifths and its key signature has two flats. The notes of the scale are: G-A-Bb-C-D-Eb-F-G

    The G minor Triad Chords are:

    - Chord i – G-Bb-D (the G minor chord ) + inversions
    - Chord iio – A-C-Eb (the A diminished chord) + inversions
    - Chord III – Bb-D-F (the Bb Major chord) + inversions
    - Chord iv – C-Eb-G (the C minor chord) + inversions
    - Chord v – D-F-A (the D minor chord) + inversions
    - Chord VI – Eb-G-Bb (the Eb Major chord) + inversions
    - Chord VII – F-A-C (the F Major chord) + inversions

    Don't Forget to Like the Video and Subscribe fore More! Also CHECK OUT MY BEST MUSIC & TUTORIALS here:

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  • G Minor Bach - Piano Tiles 2 Synthesia Piano Tutorial Jacobs Piano

    3:26

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    Enjoy! /Jacob

  • Rachmaninoff - Prelude in G Minor

    4:24

    Prelude in G Minor, Rachmaninoff, Op 23 No 5
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    Hope you enjoy my performance of Rachmaninoff's Prelude in G Minor.

    Outro: Chopin - Fantaisie-Impromptu (Op. 66)

    Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday and Thursday!

  • Minor Blues Backing Track in Gm TCDG

    10:51

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  • Bach G Minor Piano Tiles | Relaxing Sentimental Soothe Romantic Calming

    25:16

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    Our Fantastic Selection With The Best Classical Music Is For Relaxation, Meditation, Focus, Reading And Stress Relief.
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  • Marty Schwartz teaches G Minor Pentatonic Licks & Riffs you MUST KNOW

    5:21

    Guitar SoloingEbook!
    This free cheat sheet gives tips, tricks, chords, pentatonic scales, how to get started and more.
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    Marty Schwartz teaches you G Minor Pentatonic Licks & Riffs you MUST KNOW

  • Emotional Sad Guitar Ballad Backing Track G minor

    10:52

    Jam track for musicians to improvise, study and practice. Slow 90 bpm. With guitars, bass, drums and pads. Chords progression in the video. Use and Copyright:

    You CAN FREELY:
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    Sound recording, arrangement, instruments, playing, recording, mix and mastering by Nick Neblo © ℗ All Rights Reserved

    #guitarbackingtrack #jamtrack #nickneblo

  • Ballade No. 1 in G Minor, Op. 23

    8:53

    Provided to YouTube by Sony Music Entertainment

    Ballade No. 1 in G Minor, Op. 23 · Janusz Olejniczak · Frédéric Chopin

    The Pianist (Original Motion Picture Soundtrack)

    ℗ 2002 SONY BMG MUSIC ENTERTAINMENT

    Released on: 2002-10-25

    Producer: Marcus Herzog

    Auto-generated by YouTube.

  • Prelude in G Minor

    4:25

    Provided to YouTube by Sony Music Entertainment

    Prelude in G Minor · Yiruma

    Blind Film

    ℗ 2013 Sony Music Entertainment Korea

    Producer: SME Korea

    Auto-generated by YouTube.

  • Adagio in G Minor

    8:57

    Enjoy this beautiful piece with an appropriately awe-inspiring slideshow :)

    The Adagio in G minor for violin, strings and organ continuo, is a neo-Baroque composition popularly attributed to the 18th century Venetian master Tomaso Albinoni, but in fact composed almost entirely by the 20th century musicologist and Albinoni biographer Remo Giazotto.

    MoodTools is available at

    Piece actually composed by Remo Giazotto based on Tomaso Albinoni's work.

  • Tomaso Albinoni - Adagio in G Minor

    8:06

    Albinoni's Piece that Portrays the Hight of Neo-Baroque Music.
    This Beautiful peice has become -sometimes regrettably- a synonym for sorrow and sadness.
    This Version is Probably the best interpitation of this Immortal Piece.

    By The Prague Baroque Orchestra
    Conducted By Trevor Pinnock

    Hope You Enjoy =]

  • Mirana Faiz - Bach G minor arranged by Luo Ni

    3:51

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    Listen to AN AUTUMN STORY (BACH G MINOR arranged by Luo Ni) played by Mirana Faiz.

    This piece is composed by Luo Ni and it's a modification of Johann Sebastian Bach's Prelude in C minor from The Well Tempered Clavier book 1 (BWV 847).

    Composer: Luo Ni
    Repertoire: Bach G Minor
    Artist (Piano): Mirana Faiz
    Place: Tetbury, Gloucestershire - Wakefield, West Yorkshire, England
    Production and Post production: MY Production limited and MY Spotlight Independent
    Costume Sponsor: MissPatina

  • Mozart - Symphony No. 40 in G minor, K. 550 complete

    26:25

    Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the Great G minor symphony, to distinguish it from the Little G minor symphony, No. 25. The two are the only minor key symphonies Mozart wrote. The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani.
    The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony:
    1. Molto allegro, 2/2
    2. Andante, 6/8
    3. Menuetto. Allegretto -- Trio, 3/4
    4. Finale. Allegro assai, 2/2.
    Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form. This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing Grecian lightness and grace. Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony a work of passion, violence, and grief.
    Although interpretations differ, the symphony is unquestionably one of Mozart's most greatly admired works, and it is frequently performed and recorded. Ludwig van Beethoven knew the symphony well, copying out 29 measures from the score in one of his sketchbooks. It is thought that the opening theme of the last movement may have inspired Beethoven in composing the third movement of his Fifth Symphony.
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  • Healing Quiet Groove Backing Track in G minor | #SZBT 702

    9:16

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    Composed, played and produced by Sebastien Zunino

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    You may use this backing track / jam track to exhibit your personal musical skills in a non-commercial recorded video or audio performance posted on-line.

    Appropriate credit with a link to the original track is appreciated.

    This Backing Track is provided for self-educational purposes only. You may not copy, publish, distribute, extract, re-utilise, or otherwise reproduce any of my tracks for your own personal or commercial financial gain, or use as a basis for creating a derivative work.

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    This backing track is made for guitar, saxophone, horns, violins, singers, bass, flute, pianist, trumpet or any instruments ...

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    I try to make everyday beautiful music for you and I hope you'll like it
    You can find every Backing Tracks / Jam Tracks in my playlist.
    Sebastien zunino

  • Adagio in G Minor

    8:09

    Provided to YouTube by The Orchard Enterprises

    Adagio in G Minor · Tomaso Albinoni · Orquesta Lírica de Barcelona · José María Damunt

    Música Clásica

    ℗ 2016 Star Evens Digital

    Released on: 1995-05-20

    Auto-generated by YouTube.

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  • Sad Guitar Ballad Backing Track In G Minor

    5:08

    Sad Guitar Ballad Backing Track In G Minor - Enjoy
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    Chords:
    - Gm - F - Eb - Dm

    Scales:
    - G Natural Minor Scale
    - G Minor Pentatonic Scale

    G Minor scales work great with this guitar backing track!

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  • HOW TO PLAY THE G MINOR PENTATONIC SCALE

    7:44

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    This Video covers the G minor Pentatonic Scale. This is what I call the primary fingering for the minor pentatonic scale.
    The notes that make up the G minor Pentatonic Scale are:

    G Bb C D F = 1 b3 4 5 b7 Scale degrees.

    I cover the fingering and some thoughts I have on practicing it.

    Hope you all are well !
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  • Adagio in G Minor

    7:46

    Provided to YouTube by Universal Music Group

    Adagio in G Minor · Mac Quayle

    The Assassination of Gianni Versace: American Crime Story

    ℗ 2018 Twentieth Century Fox Film Corporation

    Released on: 2018-03-16

    Composer: Tomaso Albinoni
    Composer, Arranger, Work Arranger: Remo Giazotto

    Auto-generated by YouTube.

  • J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 1. Adagio

    4:47

    Music video for J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 1. Adagio. © 2018 Hilary Hahn, under exclusive licence to Decca Music Group Limited

  • ♫ Yiruma ~ Prelude In G Minor V&D

    4:32

    Ver lo que los demás no ven... El fluir del Alma.

  • Soft Acoustic Soul Guitar Backing Track In G Minor

    4:50

    Soft Acoustic Soul Guitar Backing Track In G Minor - Enjoy! - ↓ Chords ↓

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    Chords:
    - Gm - Bb - F - Eb

    Scales:
    - G Natural Minor Scale
    - G Minor Pentatonic Scale

    G Minor scales work great with this Soft Acoustic Soul Guitar Backing Track In G Minor !

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    Original instrumentals and backing tracks in a variety of popular genre's! Listen, Jam, Sing, Enjoy! :)

    © USE OF CONTENT
    Tom Bailey owns all the copyright to all of the tracks on his youtube therefore you may only use them with prior permission.

    Any unauthorised use of Tom Bailey's music will be removed immediately and legal action may take place.

    If you would like to sell or earn profit from using one of Tom Bailey's tracks/beats you will need to acquire a licence agreement that allows you to do so. More info:

  • Emotional Rock Ballad Backing Track for improvisation

    32:38

    30 minutes G Minor Emotional Guitar Ballad Backing Track for Instrumentalists Musicians & Singers

    Plz Consider to download the full track MP3 here


    ► You can support this channel from as little as 1$. Pledge a bit more and get monthly free downloads, this will come in handy if you are a guitarist who love jamming and improvisation yourself


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    (Mohamed Shawky) 2006-2017

  • Rachmaninoff plays Prelude in G Minor Op. 23 No. 5

    3:40

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    Prelude in G minor, Op. 23, No. 5, is a music piece by Sergei Rachmaninoff, completed in 1901. It was included in his Opus 23 set of ten preludes, despite having been written two years earlier than the other nine. Rachmaninoff himself premiered the piece in Moscow on February 10, 1903, along with Preludes No. 1 and 2 from Op. 23.

  • Seductive Blues Ballad Guitar Backing Track Jam in G Minor

    10:11

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  • Cinematic Rock Ballad Guitar Backing Track Jam in G Minor

    10:13

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    For the tracks to be used in any other way, a licensing agreement must be signed and a fee paid. For other business enquiries or questions about licensing, please contact me at this email: t.james9216@gmail.com

  • Albinonis Adagio in G Minor

    4:31

    Provided to YouTube by Rhino/Elektra

    Albinoni's Adagio in G Minor · The Doors

    Behind Closed Doors - The Rarities

    ℗ 2006 Elektra Entertainment Group Inc. for the United States and WEA International Inc. for the world outside of the United States

    Engineer: Bruce Botnick
    Bass Guitar: Douglas Lubahn
    Percussion: Jim Morrison
    Lead Vocals: Jim Morrison
    Drums: John Densmore
    Backing Vocals: John Densmore
    Producer: Paul A. Rothchild
    Keyboards: Ray Manzarek
    Backing Vocals: Ray Manzarek
    Guitar: Robby Krieger
    Backing Vocals: Robby Krieger
    Writer: Remo Giazotto

    Auto-generated by YouTube.

  • Chopin : Polonaise in G minor - Posthumous

    3:09



    Frédéric CHOPIN (1810-1849) : Polonaise in G minor, B1, KK IIa No. 1 (Posthumous)
    Pdf sheet music download for piano by Sheetmusic2print.com

  • Albinoni - Adagio in G Minor

    2:21

    One of the most touching pieces in concert literature for the violin, this piece has become popularized in film, in sport, and in television. During World War II, a library containing some of Albinoni's works was bombed. During the recovery operation, the Italian composer Remo Giazotto discovered a fragment of Albinoni's manuscript of this piece. His reconstruction of what might have been thrown out as trash by an untrained eye has become one of the most-beloved pieces in the world.

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  • Frédéric Chopin - Cello Sonata in G minor

    30:06

    - Composer: Frédéric François Chopin (22 February or 1 March 1810 -- 17 October 1849)
    - Performers: Truls Mørk (cello), Kathryn Stott (piano)
    - Year of recording: 2006

    Sonata for Cello & Piano in G minor, Op. 65, CT. 204, written in 1845-1846.

    00:00 - I. Allegro moderato
    15:07 - II. Scherzo. Allegro con brio
    19:48 - III. Largo
    24:01 - IV. Finale. Allegro

    Chopin's cello sonata, Op. 65, was his last major work. Apart from the piano, the cello was the only instrument for which Chopin composed substantial amounts of music; in 1832 he had written the Grand Duo Concertant for the cellist Auguste Franchomme. In part because of the presence of the cello, and in greater part because of the formal characteristics of the piece, the composition of the cello sonata occupied Chopin for an unusually long period. He worked on it through 1845 and well into 1846, sketching and drafting as he had not done before, and at one point complaining to his sister, I write a little and cross out a lot. Extant sketches show that Chopin did indeed discard an incredible amount of material and redrafted most of his ideas before deciding on the final form of the work. The piece was printed in Paris in 1847. Chopin and Franchomme premiered the sonata in Paris to great acclaim, in what was to be the last performance of Chopin's career.

    Much of Chopin's anguish stemmed from his difficulties in the shaping the relationship between the two instruments. That he mostly composed the cello part first was perhaps at the heart of the matter, for Chopin was forced to curb his keyboard tendencies and remove himself from his natural idiom. It is no surprise that the piano part often sounds uncharacteristic of Chopin. Furthermore, because he chose to engage himself with the Germanic sonata idea, as he had in his piano sonatas, he had to set aside his predilection for ternary forms with codas and achieve contrast and develop logical structures in new and unfamiliar ways.

    Chopin takes great care to distribute the material equally between the cello and piano, and he accomplishes this goal in a variety of ways. For instance, in the first group of themes in the first movement we hear passages of piano solo, piano with cello accompaniment, cello with a substantial piano counter-subject, cello with only light piano accompaniment, and counterpoint in which the two partners are equal. After the second group opens with rounded phrases for each instrument, a three-part invention involving both instruments ensues. The Germanic aspect of the movement becomes clear in Chopin's development of an integrated sonata form from a few related motives. Inversion and other transformations of motives from the first few measures occur even in the exposition. One of the cello's most important motives, a rising and falling half-step, comes not from the main theme but from prefatory material, and what seem like mere connective gestures evolve into parts of themes. It is not surprising that Chopin moves to the relative major (B flat), but what is striking is his path--a string of dominant-seventh harmonies--toward this goal. Throughout, Chopin diminishes the punctuating potential of his cadences by writing continuous melody over them, giving a sense of constant growth.

    Chopin creates relationships among the four movements of the sonata through melodic references. The primary cello motive of the first movement, a rising and falling half-step, opens the lush second movement, the folksy scherzo, and the tarantella finale--further evidence that Chopin was consciously experimenting with German compositional methods. The clear divisions between cello and piano in the second movement contrast with the more integrated use of the instruments in the first movement, while the finale sounds, at times, like Mendelssohn. The end result is a unique, un-Chopinesque work.

    The cello sonata is dedicated to Auguste Franchomme.

  • Wolfgang Amadeus Mozart - Symphony No. 25 in G minor

    7:50

    Composed by Wolfgang Amadeus Mozart
    Performed by Academy of St. Martin-in-the-Fields
    Conducted by Neville Marriner

  • Alma Deutscher, Violin concerto in G minor

    35:47

    Alma's new piano solo album, From my Book of Melodies, is out now:
    --------------------------------------------
    Violin concerto no. 1 composed by Alma Deutscher, and performed in July 2017 at the Carintischer Sommer Festival.
    Vienna Chamber Orchestra, conductor: Joji Hattori.
    I - Allegro maestoso 0:21
    II - Romanza 15:37
    III - Allegro scherzando 24:32

  • Reggae Blues Backing Jam Track | G Minor

    12:17

    ???? TABS, SCALE MAPS + LESSONS ????
    INTRO SOLO TAB → SCALE MAPS →
    Play-along starts 1:22 Drumless version TRIGGER
    More Reggae More Minor Scale HAPPY JAMMING!

    Fun, feel-good Reggae style Blues jam track for ya'll :)

    More Feel-good Jams

    Jam with 'Into The Blues' (full jam tracks album) HERE



    FEATURED PLAYER = Mark Herd


    Tempo = 80 BPM


    Chord progression:


    II: Gm I Cm I Gm I Gm I
    I Cm I Cm I Gm I Gm I
    I Eb7 I D7 I Gm I Gm :II


    Knowing the 7th arpeggios will come in handy...


    Gm7 - G Bb D F
    Cm7 - C Eb G Bb
    Eb7 - Eb G Bb Db
    D7 - D F# A C


    Suggested scales:

    G Minor Pentatonic - G Bb C D F (G)

    G Minor Blues Scale - G Bb C C# D F (G)

    G Minor Scale - G A Bb C D Eb F (G)

    G Harmonic Minor Scale (D7 chords) - G A Bb C D Eb F# (G)


    ---------------------------------------


    Happy Reggae Jam Track in E

    Easy Reggae Jam (Am)

    More jam tracks at




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  • J. S. Bach G-minor Sonata no. 1: Adagio | Sumina Studer

    3:38

    Sumina Studer, 19 years old, plays Bach's Adagio from J. S. Bach's G-minor sonata for solo violin no. 1, BWV 1001 in November 2016 at the Konzerthaus Berlin.

    Enjoy, Like, Comment, Subscribe!

    Video: Young Classicals
    The sound of this video is not edited.



  • Vivaldi: The Four Seasons, Concerto No. 2 in G Minor, RV 315 Summer | Classical Music

    10:34

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    Orchestra da Camera Fiorentina
    Director: Giuseppe Lanzetta
    Violin: Christiane Edinger

    The Four Seasons, Concerto No. 2 in G Minor, RV 315 Summer:
    I. Allegro non molto
    II. Adagio ( 05:22 )
    III. Presto ( 07:46 )


    The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives a musical expression to a season of the year. They were written about 1723 and were published in 1725 in Amsterdam, together with eight additional violin concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).

    The Four Seasons is the best known of Vivaldi's works. Unusually for the time, Vivaldi published the concerti with accompanying poems (possibly written by Vivaldi himself) that elucidated what it was about those seasons that his music was intended to evoke. It provides one of the earliest and most-detailed examples of what was later called program music—music with a narrative element. Thank you so much for watching this video by Halidon Music channel, we hope you enjoy it!
    Don't forget to share it and subscribe to our channel ......All the best classical music ever on Halidon Music Youtube Channel : The Best Classical Music Playlist Mix, The Best Classical Music For Studying, Classical Music For Reading, Classical Music For Concentration, Classical Music for Sleeping and Relaxation, Instrumental Music, Background Music, Opera Music, Piano, Violin & Orchestral Masterpieces by the greatest composers of all time.

    The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Ravel, Dvorák… ......All the best classical music ever on Halidon Music Youtube Channel : The Best Classical Music Playlist Mix, The Best Classical Music For Studying, Classical Music For Reading, Classical Music For Concentration, Classical Music for Sleeping and Relaxation, Instrumental Music, Background Music, Opera Music, Piano, Violin & Orchestral Masterpieces by the greatest composers of all time.

    The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Ravel, Dvorák…

    #vivaldi #thefourseasons #summer #classicalmusic

  • Prokofiev Piano Concerto No. 2 in g minor, Op. 16

    31:10

    Prokofiev begins gently with two measures of orchestral stage-setting, leading to two more measures of piano vamp until the appearance of the first theme, a melody of surprising extensions. Prokofiev wants a certain speaking quality in the performance at this point, for he has marked the theme narrante. A contrasting theme introduces an element of caprice and a new repertory of colors. Most of the development and even much of the recapitulation take the form of a huge cadenza (5:17), maybe the hugest in any concerto. (The instruction to the pianist at the climax is colossale.) The orchestral continuation is likewise larger than life, but then a modest restatement of the opening melody brings the movement to a quiet close.

    The Scherzo is a tour de force of perpetual motion, of non-stop sixteenth notes for the soloist. Intermezzo, at least in the piano repertory, tends to suggest a rather contained sort of music, but this one is fierce. The pianist Sviatoslav Richter said that to him it evoked a dragon devouring its young. There is something here of the grinding harshness of the Scythian Suite of 1915, and it is a model for those sinister marches that rage their way through the pages of Shostakovich. Prokofiev's inventiveness in piano figuration is remarkable.

    In a sense, the second and third movements are both intermezzi, music on a far smaller scale than the first movement and the finale. The last movement reverts to the expansive manner of the first and also has a cadenza as its focal point. The entry into this cadenza is one of Prokofiev's wittiest strokes in the work. This movement brings together the Scythian wildness of the Intermezzo and the touching, rather Mussorgskian narrative lyricism of the first movement's Andantino.

    0:00 - Andantino-Allegretto
    10:59 - Scherzo: Vivace
    13:29 - Intermezzo: Allegro moderato
    20:14 - Finale: Allegro tempestoso

  • W. A. Mozart: Symphony No. 40 in g minor, K. 550, I. Molto allegro

    7:35

    Norwegian Chamber Orchestra
    Terje Tønnesen, leader

  • Schumann: Sonata No.2 in G Minor, Op.22

    18:02

    Schumann’s final (and mis-numbered) sonata is one of the most compelling in the genre. It is by some distance Schumann’s most taut, being only half as long as the other two, and yet thematically and structurally it is extremely rich, with all of Schumann’s typically fantastical textures and ideas emerging undimmed. To see how complex the Op.22 is, you just need to observe that every single movement has some serious structural innovation going on: the last movement is a sonata-rondo in ABACABACADA form (although you can even see it as ABCADABCADAEA!) with two apparent development sections, the tiny third movement’s trio is given some serious developmental treatment when it recurs, the second movement is a fusion of ABA + theme and variation + monothematic sonata form, and the first movement has so many ideas that it’s hard to figure out exactly where Theme 1 ends and Theme 2 begins (you could just as plausibly say that Theme 2 begins at 00:51, for instance).

    Nakamatsu’s playing in this sonata is superb. For a start, the tempi are carefully judged: in the first movement Schumann straightaway tells the pianist to play so rasch wie möglich (as fast as possible), only to write in the coda schneller (faster), and, in the concluding bars, noch schneller (even faster)! Nakamatsu is one of the few pianists who gets what this apparent absurdity is all about: he takes the first movement at a ferocious speed, losing none of the clarity in contrapuntal passages, but holds back the barest scintilla of energy for the coda, where he finally floors it – note also how he liberally changes tempo in the exposition to delineate different themes. His second movement is played with sensitivity and warmth, the third is perky and precise, and the finale thrums with nervous energy, with every gorgeous contrapuntal line perfectly voiced. A striking example of Nakamatsu’s fine dynamic control is the eerie “floating” pianissimo at 17:29.

    00:00 – Mvt I, So rasch wie möglich (“As quickly as possible”)
    05:57 – Mvt II, Andantino. Gegtragen (“Stately/solemn”)
    11:13 – Mvt III, Scherzo. Sehr rasch und markiert (“Very quickly and marked”)
    12:47 – Mvt IV, Presto

    MVT I
    EXPOSITION
    00:00 – Theme 1
    00:20 – Transition
    00:32 – Theme [complex] 2, motif 1
    00:38 – Theme 2, motif 2
    00:51 – Theme 2, motif 3
    01:14 – Theme 2, motif 4 (connected to T.1)
    DEVELOPMENT (note near-constant sequential treatment of themes)
    02:45 – T.2/m.1, LH, joined at 2:48 by RH
    02:51 – T.1 (in canon)
    02:55 – T.2/m.1
    02:58 – T.1
    03:01 – T.2/m.1
    03:09 – T.2/m.2 + T.2/m.3
    03:21 – Introduction of RH figuration recalling T.2/m.3 at 1:01
    03:30 – T.1
    03:50 – False recapitulation. One last sequential treatment of T.1/m.1 before –
    04:09 – RECAPITULATION (T.2 now modulates to the parallel major (G maj), rather than the relative major (Bb maj)
    05:25 – CODA (note the amusing tempo indications, which read “Faster” here and “Even faster” at the restatement of T.1, despite the fact that the pianist has earlier been instructed to play “As fast as possible”.)
    05:35 – T.1 restatement

    MVT II
    05:57 – “A” Section [Quasi-exposition]
    06:49 – “B” Section (Var.1) [Quasi-development]
    07:43 – “B” Section (Var.2) (Note extensive key changes)
    09:09 – “A” Section [Quasi-recapitulation]
    10:01 – Coda

    MVT III
    11:13 – Scherzo, T.1
    11:19 – Scherzo, T.2 (Note how the phrase structure erases your sense of the bar line – a typical Schumann-ism)
    11:29 – Trio (recalling Mvt 1, T.2/m.3 with its gentle syncopation)
    11:39 – Scherzo, T.1
    11:43 – Scherzo, T.2
    11:53 – Trio (Note the highly developmental nature of this repeat, where the trio is presented in 2 different variants of the original, both of which are considerably more dramatic than the original)
    12:32 – Scherzo, T.1
    12:36 – Scherzo, T.2

    MVT IV
    QUASI-EXPOSITION
    12:47 – “A” theme (G min, recalling T.1 of Mvt I)
    13:09 – “B” theme (Bb maj, with long and heavily syncopated transition section at 14:04)
    QUASI-DEVELOPMENT
    14:27 – “A” theme (Bb min, sequential)
    14:42 – “C” theme (integrating fragments of A in LH)
    QUASI-RECAPITULATION
    14:55 – “A theme (G min)
    15:15 – “B” theme (Ab maj)
    QUASI-RE(!)-DEVELOPMENT
    16:32 – “A” theme (Eb min, sequential)
    16:46 – “C” theme
    QUASI-RE(!)-RECAPITULATION
    17:00 – “A” theme (G min)
    17:29 – “D” theme (CODA)
    17:48 – “A” theme (final recollection of main subject)

  • Chopin: Ballade No. 1 in G Minor, Op. 23

    10:06

    Provided to YouTube by Universal Music Group

    Chopin: Ballade No. 1 in G Minor, Op. 23 · Seong-Jin Cho

    Chopin: Piano Concerto No. 1; Ballades

    ℗ 2016 Deutsche Grammophon GmbH, Berlin

    Released on: 2016-11-25

    Producer: Sid McLauchlan
    Studio Personnel, Recording Engineer: Rainer Maillard
    Studio Personnel, Asst. Recording Engineer: Julian Helms
    Composer: Frédéric Chopin

    Auto-generated by YouTube.

  • Vivaldi - Concerto for two cellos in G minor, RV 531

    10:36

    Concerto for two cellos in G minor, RV 531
    Antonio Vivaldi (1678 - 1741)
    Allegro / Adagio 3:50 / Allegro 7:01
    Stéphane Tétreault (15 yrs), cello
    Kateryna Bragina, cello
    Yuli Turovsky, conductor

    ///Recordings///

    Saint-Saens & Tchaikovsky


    Haydn, Schubert & Brahms


    Trios for Violin, Cello and Harp

  • G Minor Bach - Piano Tiles 2

    3:06

    This popular piano piece ‘’G Minor Bach‘’ is arranged by Chinese composer Luo NI (倪椤) and used in Piano Tiles 2

    Piano Sheet:

    Digital Pianos I'm using: YAMAHA P95&P115

    I post Modern, Classical and Jazz Piano videos regularly, welcome subscribe to my channel. Thank you for watching~

  • Albinoni/Giazotto “Adagio in G minor” PIANO SOLO - P. Barton, FEURICH piano

    9:28

    Viewer request for the piano reduction of “Adagio in G minor for strings”. The suggestion was I take a look at the available transcription in case I could come up with a new arrangement. However, the only thing I can think of as an alternative, it to play pianissimo tremolos in left hand between bars 28 and 47 and to fill out the last entry of the theme in ff by dropping the bass an octave lower, and filling out the right hand with larger chords and octaves to emphasize the melody.

    Being this is the work of Remo Giazotto and only based on a tiny fragment of Albinoni’s music, it is not in the public domain, so, with apologies, I can’t link to the sheet music I am playing from in this video. However, a little searching online is all that’s needed.

    “Adagio in G minor” is popularly thought to be by the 18th century Venetian composer Tomaso Albinoni, but was actually almost entirely composed by the 20th century musicologist and Albinoni biographer, Remo Giazotto.

    In this recording I use the 4th harmonic pedal only. The harmonic sostenuto is used to hold the resonance of the chords and the pedal is released to half-position to play the staccato bass.

  • Husnu Senlendirici - Adagio in G Minor

    6:00

    Music video by Hüsnü Şenlendirici performing Adagio in G Minor. (C) 2017 Sony Music Entertainment Turkiye Tic. A.S.

  • Ólafur Arnalds, Alice Sara Ott - Nocturne In G Minor

    3:12

    15th April 2015 @ 9am
    ‘Nocturne In G Minor’ taken from Ólafur Arnalds / Alice Sara Ott – The Chopin Project
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    Video by Stefan Kochert at Yellow Lounge (C) 2015 Mercury Classics

  • Vivaldi: Concerto in G minor R. 576 / Marcon · Berliner Philharmoniker

    2:53

    Full-length concert:
    Antonio Vivaldi: Concerto for solo violin, solo oboe, two recorders, two oboes, bassoon, strings and continuo in G minor R. 576 / Anna Fusek, recorder · Giulia Genini, recorder · Daniele Damiano, bassoon · Andreas Buschatz, violin · Albrecht Mayer, oboe · Andrea Marcon, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 31 October 2012.
    The Berliner Philharmoniker's Digital Concert Hall:

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  • Arthur Rubinstein - Chopin Nocturne Op. 37, No. 1 in G minor

    6:24

    HQ -
    Arthur Rubinstein - Chopin Nocturne Op. 37, No. 1 in G minor

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