Avg Duration Share on facebook twitter tumblr. Franz Liszt: Great Piano Works. Brilliant Classics. Claudio Arrau. Sony Classical. Emil Gilels. Deutsche Grammophon. From the History of the Tchaikovsky Competition Phonodocuments. Classical Collection Master Series, Vol. Entertainment Group. Liszt: Czardas Fantasy. Liszt: Hungarian Rhapsodies. Alexander Brailowsky. Broken Audio. Misha Dacic. Piano Classics. Liszt: 10 Hungarian Rhapsodies.
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Furthermore, finger 5 goes with the D that comes a couple of measures after this excerpt. Sign up or log in Sign up using Google. Sign up using Facebook.
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Andras Korodi. Liszt: Orchestral Works. Gramola GRAM Sony Classical The Liszt Collection Various Artists. Deutsche Grammophon Decca Naxos Mercury Brilliant Liszt: Hungarian Rhapsodies Hermann Scherchen. The mixolydian scales are built on the fifth degree the dominant of respecive minor scale. Or, as luser droog suggests, you could look at it all as a G melodic minor scale using tones of both the ascending and descending variants.
It depends on what you want to convey when you use the name of the scale. It's up to you to decide how you want to look at it given the context you want to apply it to. Or ask a music professor. Tell me which ever and I'd have an understanding of what you meant. It's really just normal tones in the G minor tonality, although the augmented second of Eb-F and the following suspension on Bb gives an exciting feeling.
This set of notes comprise G Melodic Minor. Typically you choose flavors to follow the melody hence "Melodic" , but alternating between the two creates a sort of tension that can drive a subsequent key-change. But I think Ulf has a valid perspective as well, and if you were to extract the scale from the piece as reuse it, you probably would relate it to D to distill the right flavor.
Preface: What's being analyzed here is John Thompson's arrangement of Liszt. For the original Liszt, see below. I find it more fruitful to analyze the cadenza as an arpeggio with passing tones , rather than a scale, giving a better functional explanation of the passage.
As a starting point, the passage as a whole can be distilled to a D7b9 chord. Playing a D7b9 arpeggio in lieu of the written "scale" still retains the fundamental character of the passage. Since the cadence immediately preceding the cadenza is in D major, E is the only possible note to connect the cadenza's initial D with the following F. A b2 would not make sense in this context. However, I don't think the D7b9 chord idea holds up. Once we hit F , my ear says the better interpretation a shift from D major to F o7.
The F -G-A make sense in the context of D major. This is the best choice, because G and Bb are part of the target G minor. However, a Half-Whole diminished scale doesn't entirely work.
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