{"id":43,"date":"2011-06-30T03:22:42","date_gmt":"2011-06-30T08:22:42","guid":{"rendered":"http:\/\/blog.espol.edu.ec\/camc\/?p=43"},"modified":"2011-06-30T04:38:49","modified_gmt":"2011-06-30T09:38:49","slug":"nocturne-op-9-no-2-chopin","status":"publish","type":"post","link":"https:\/\/blog.espol.edu.ec\/camc\/2011\/06\/30\/nocturne-op-9-no-2-chopin\/","title":{"rendered":"Nocturne op 9 no 2 chopin"},"content":{"rendered":"<div class=\"mceTemp mceIEcenter\">\n<dl>\n<dt><img loading=\"lazy\" decoding=\"async\" title=\"Partitura\" src=\"http:\/\/www.di-arezzo.es\/multimedia\/images\/henle\/part\/hn664.jpg\" alt=\"Nocturno. Andante\" width=\"400\" height=\"587\" \/><\/dt>\n<address><span style=\"color: #0000ff\">Nocturno Op. 9 n.\u00ba 2:<\/span>Compases iniciales del Nocturno Op. 9 n.\u00ba 2.  Nocturne Op. 9, n.\u00ba 2  Martha Goldstein tocando en un piano Erard de 1851. \u00bfProblemas al reproducir este archivo? Vea Ayuda:Multimedia. En mi bemol mayor, este conocido nocturno presenta una forma de rond\u00f3, aunque la primera parte se repite de manera m\u00e1s ornamentada antes del comienzo de la segunda parte. Cada vez que se repite se vuelve a emplear ornamentaci\u00f3n. As\u00ed, de esta manera, el nocturno tiene una forma A-A'-B-A'-B-A'-C. El tempo indicado es un tranquilo andante, algo totalmente inusual al tratarse de un rond\u00f3. El resultado es una melod\u00eda tierna y que da la sensaci\u00f3n de fluir lentamente. La secci\u00f3n final, concretamente desde el pen\u00faltimo pentagrama, se debe tocar con un extra\u00f1o senza tempo, es decir, \u2018sin tempo\u2019.<\/address>\n<\/dl>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Nocturno Op. 9 n.\u00ba 2:Compases iniciales del Nocturno Op. 9 n.\u00ba 2. Nocturne Op. 9, n.\u00ba 2 Martha Goldstein tocando en un piano Erard de 1851. \u00bfProblemas al reproducir este archivo? Vea Ayuda:Multimedia. En mi bemol mayor, este conocido nocturno presenta una forma de rond\u00f3, aunque la primera parte se repite de manera m\u00e1s ornamentada [&hellip;]<\/p>\n","protected":false},"author":6294,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2855],"tags":[37611],"class_list":["post-43","post","type-post","status-publish","format-standard","hentry","category-musica-clasica","tag-andres"],"_links":{"self":[{"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/posts\/43","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/users\/6294"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/comments?post=43"}],"version-history":[{"count":10,"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/posts\/43\/revisions"}],"predecessor-version":[{"id":45,"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/posts\/43\/revisions\/45"}],"wp:attachment":[{"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/media?parent=43"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/categories?post=43"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.espol.edu.ec\/camc\/wp-json\/wp\/v2\/tags?post=43"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}