In the focus there is not an adding of a virtuous piano player, but a very simple and clear accompaniment. So also inexperienced musicians as well as children are able to start immediately with practicing.
You enter a chord chain text, select a piano style and a tempo. The app will play this accompaniment in an endless loop. You can transpose the chord chain and switch the volume ratio of bass to chord. You can turn on a metronom.
This FULL version...
....offers more chords: all variations of Major, Minor, Aug, Dim, 6, 7, maj7 and 9. You can enter chord chains with 2 chord each bar. Your chords chains will be saved to recall them. You can ajust tempo in fine scale, volume ratio of bass and chord in fine scale. You can create and save more "Piano Styles"
Enter A Chord Chain:
Touch the chord chain field. Enter the letters for Chord names and or <#> for "Flat" and "Sharp". Use for "Minor", <0> for "Dim" and <+> for "Aug" chords. Add a <6> <7> <9> for chord with four notes. If you want to have a bar with two different chords inside use the prefix <2> followed by two chords.
Easy Edit: You need not enter SPACES or Uppercase/Lowercase. Use H for Note B. Use Hb for Bb-Chord. Sample: "hb0gm72d#f+c" will become "|: Hb° | Gm7 | D# F+ | C :|" automatically.
move the Slider to change speed from 40bpm to 240bpm.
Touch the "+/-" Button to change transpose from -5 upto +6 notes. Transpose only changes the audible result, not the chord chain text.
Touch the metronom button to add a metronom beat. The timing of the metronom depends on the selected style.
DUETT can play your chord chain in 10 different piano styles (more will follow):
- simple 4/4 with only quarter notes.
- simple 3/4 with only quarter notes.
- Reggae Style
- 8-beat Pop
- Take Five 5/4
- Bossa Nova
- Slow Rock 6/8
Move the slider to change the ratio of bass to chord from: "more chord" to "more bass"
Creating New Style
You can change the style "MyStyle". Touch the "EDIT" button. Select a length of the style from 3/4 upto 8/4. Select a fine resolution from 1/8, 1/8T, 1/16 upto 1/16T. "T" means "tribleds".
The top window shows a grid with three rows: M (Metronom), C (Chord) and B (Bass). The columns represent the timing positions in the style. Touch a position to add a event. Touch again to remove it.
The Metronom row offers two different events: "Click" and "Click + Bing"
The Bass row offers three different events: "I" (Base note), "III" (a Third), "V" (a Fifth)
If the style s longer than the screen, move the slider to reach all timing positions.
Touch "SAVE" to store your changes to MyStyle. Touch "SONG" to return to the Accompany mode.
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I. Allegro ma non troppo 'Awakening of cheerful feelings on arrival in the countryside.'
The symphony begins with a placid and cheerful movement depicting the composer's feelings as he arrives in the country. The work is in sonata form, and its motifs are extensively developed. At several points Beethoven builds up orchestral texture by multiple repetitions of very short motifs. Yvonne Frindle commented, "the infinite repetition of pattern in nature [is] conveyed through rhythmic cells, its immensity through sustained pure harmonies."
II. Andante molto mosso 'Scene by the brook.'
This movement, titled by Beethoven "By the brook," is in 12/8 meter; the key is B flat major, the subdominant of the main key of the work. The movement is in sonata form. At the opening the strings play a motif that clearly imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, with the remaining cellos playing mostly pizzicato notes together with the double basses. The cadenza of bird calls in the second movement; the intended species are labeled in German. Click to enlarge. Toward the end of the movement there is a cadenza for woodwind instruments that imitates bird calls. Beethoven helpfully identified the bird species in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets).
III. Allegro 'Merry gathering of country folk.'
This is a scherzo, which depicts country folk dancing and reveling. It is in F major, returning to the main key of the symphony. The form of the movement is an altered version of the usual form for scherzi, in that the trio appears twice rather than just once, and the third appearance of the scherzo theme is truncated. Perhaps to accommodate this rather spacious arrangement, Beethoven did not mark the usual internal repeats of the scherzo and the trio. Theodor Adorno identifies this scherzo as the model for the scherzos by Anton Bruckner. The final return of the theme conveys a riotous atmosphere with a faster tempo. The movement ends abruptly, leading without a pause into the fourth movement.
IV. Allegro 'Thunder. Storm.'
The fourth movement, in F minor, depicts a violent thunderstorm with painstaking realism, building from just a few drops of rain to a great climax with thunder, lightning, high winds, and sheets of rain. The storm eventually passes, with an occasional peal of thunder still heard in the distance. There is a seamless transition into the final movement. This movement parallels Mozart's procedure in his String Quintet in G minor K. 516 of (1787), which likewise prefaces a serene final movement with a long, emotionally stormy introduction.
V. Allegretto 'Shepherd's song. Happy and thankful feelings after the storm.'
The finale is in F major and is in 6/8 time. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. Like many classical finales, this movement emphasizes a symmetrical eight-bar theme, in this case representing the shepherds' song of thanksgiving. The coda starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus "storm instruments"), with the first violins playing very rapid triplet tremolo on a high F. There follows a fervent passage suggestive of prayer, marked by Beethoven "pianissimo, sotto voce"; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic F major chords.
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