en>Omnipaedista: style fix

2014-12-29T08:44:20Z

style fix

Show changes

128.39.12.138: /* Example: Quotient of two standard normals */ I removed on instance of repeated identical equation lines

2014-02-11T09:46:31Z

Example: Quotient of two standard normals: I removed on instance of repeated identical equation lines

Show changes

en>AnomieBOT: Dating maintenance tags: {{Citation needed}}

2013-10-16T17:49:08Z

Dating maintenance tags: {{Citation needed}}

← Older revision		Revision as of 19:49, 16 October 2013
Line 1:		Line 1:
	I'~~m Karin~~ and ~~I live~~ with ~~my husband~~ and ~~our two children~~ in ~~Gimmiz~~, in the ~~south area~~. ~~My hobbies~~ are ~~Sculling~~ or ~~Rowing~~, ~~Vintage clothing~~ and ~~Gardening~~.<br><br>My web ~~page~~ ... ~~kinky files~~, [http://~~missgiana~~.~~weebly~~.com ~~great post to read~~],		{{other uses}}
			[[File:Beethoven - Concerto in C minor, cadenza.png\|thumb\|Cadenza indication from Beethoven's [[Piano Concerto No. 3 (Beethoven)\|Concerto in C minor]]: fermata over rest indicates beginning, fermata over shake indicates close.<ref name="Grove">Sir George Grove (1904). ''Grove's Dictionary of Music and Musicians'', Vol. 1, p.442. John Alexander Fuller-Maitland, ed. Macmillan Company.</ref> {{audio\|Beethoven - Concerto in C minor, cadenza.mid\|Play}}]]

			[[File:Mozart - Piano Concert in Bb major K. 595, first movement, cadenza.png\|thumb\|400px\|Cadenza indication from the first movement of Mozart's [[Piano Concerto No. 27 (Mozart)\|Piano Concert in B{{music\|b}} major]], K. 595.<ref name="Harvard">Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p.132. ISBN 978-0-674-01163-2.</ref> {{audio\|Mozart - Piano Concert in Bb major K. 595, first movement, cadenza.mid\|Play}} The [[inversion (music)#Inversions\|I<math>{}^6_4</math>]]-[[dominant (music)\|V]]-[[tonic (music)\|I]] [[chord progression\|progression]] at the cadenza is typical of the Classical concerto.<ref name="Harvard"/>]]

			In [[music]], a '''cadenza''' (from {{lang-it\|cadenza}}, meaning [[cadence (music)\|cadence]]; plural, ''cadenze'') is, generically, an [[improvisation\|improvised]] or written-out [[ornament (music)\|ornamental]] [[passage (music)\|passage]] played or sung by a [[solo (music)\|soloist]] or soloists, usually in a "free" [[rhythm]]ic style, and often allowing for [[virtuoso\|virtuosic]] display. Indicated by a [[fermata]] in all parts if improvised, a cadenza is usually over a final or penultimate note in a piece or important [[cadence (music)\|cadence]] and the [[accompaniment]] rests or sustains a note or chord.<ref name="Harvard"/> Thus it is often before a final [[coda (music)\|coda]] or [[ritornello]].<ref name="Harvard"/>

			==In concerti==
			The term ''cadenza'' often refers to a portion of a [[concerto]] in which the [[orchestra]] stops playing, leaving the soloist to play alone in [[free time (music)\|free time]] (without a strict, regular pulse) and can be written or improvised, depending on what the composer specifies. This normally occurs near the end of the first movement, though it can be at any point in a [[concerto]]. An example is [[Pyotr Ilyich Tchaikovsky\|Tchaikovsky]]'s [[Piano Concerto No. 1 (Tchaikovsky)\|First Piano Concerto]], where in the first five minutes a cadenza is used. The cadenza is usually the most elaborate and virtuosic part that the solo instrument plays during the whole piece. At the end of the cadenza, the orchestra re-enters, and generally finishes off the movement on their own, or, less often, with the solo instrument.

			==As a vocal flourish==
			The cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a [[cadence (music)\|cadence]] in an [[aria]]. It was later used in instrumental music, and soon became a standard part of the concerto. Originally, it was improvised in this context as well, but during the 19th century, [[composer]]s began to write cadenzas out in full. Third parties also wrote cadenzas for works in which it was intended by the composer to be improvised, so the soloist could have a well formed solo that they could practice in advance. Some of these have become so widely played and sung that they are effectively part of the standard repertoire, as is the case with [[Joseph Joachim]]'s cadenza for [[Johannes Brahms]]' [[Violin Concerto (Brahms)\|Violin Concerto]], [[Ludwig van Beethoven\|Beethoven]]'s set of cadenzas for [[Wolfgang Amadeus Mozart\|Mozart]]'s [[Piano Concerto No. 20 (Mozart)\|Piano Concerto no. 20]], and [[Estelle Liebling]]'s edition of cadenzas for operas such as [[Gaetano Donizetti\|Donizetti's]]'s ''[[La Fille du Régiment\|La fille du Régiment]]'' and ''[[Lucia di Lammermoor]]''.

			Nowadays, very few performers improvise their cadenzas, and very few composers have written concertos or vocal pieces within the last hundred years that include the possibility of an improvised cadenza. {{citation needed\|date=December 2011}}

			==In jazz==
			Perhaps the most notable deviations from this tendency towards written (or absent) cadenzas are to be found in [[jazz]], most often at the end of a [[ballad (music)\|ballad]], though cadenzas in this genre are usually brief. Saxophonist [[John Coltrane]], however, usually improvised an extended cadenza when performing "I Want To Talk About You", in which he showcased his predilections for scalar improvisation and [[multiphonics]]. The recorded examples of "I Want To Talk About You" (''[[Live at Birdland]]'' and ''[[Afro-Blue Impressions]]'') are approximately 8 minutes in length, with Coltrane's unaccompanied cadenza taking up approximately 3 minutes. More sardonically, Jazz critic [[Martin Williams (writer)\|Martin Williams]] once described Coltrane's improvisations on "Africa/Brass" as "essentially extended cadenzas to pieces that never get played."<ref>{{cite web \|url=http://www.reitzes.com/coltrane1.html \|title=A Love Supreme: God Breathes Through John Coltrane \|author=Reitzes, David \|year=1998 \|work= \|publisher= \|accessdate=1 May 2010}}</ref> Equally noteworthy is saxophonist [[Sonny Rollins]]' shorter improvised cadenza at the close of "Three Little Words" (''[[Sonny Rollins on Impulse!]]'').

			Cadenzas are also found in instrumental solos with piano or other accompaniment, where they are placed near the beginning or near the end or sometimes in both places (e.g. "The Maid of the Mist," cornet solo by [[Herbert L. Clarke]], or a more modern example: the end of "Think of Me", where Christine Daaé sings a short but involved cadenza, in [[Andrew Lloyd Webber\|Andrew Lloyd Webber's]] ''[[The Phantom of the Opera (1986 musical)\|The Phantom of the Opera]]'').

			==Notable examples of cadenzas==

			{{Refimprove section\|date = October 2012}}

			*Concertos are not the only pieces that feature cadenzas; ''Scena di Canta Gitano'', the fourth movement of [[Nikolai Rimsky-Korsakov]]'s ''[[Capriccio Espagnol]]'', contains cadenzas for [[Horn (instrument)\|horns]] and [[trumpet]]s, [[violin]], [[Western concert flute\|flute]], [[clarinet]], and [[harp]] in its beginning section.
			*The end of the first movement of [[Johann Sebastian Bach\|Bach]]'s [[Brandenburg Concertos\|fifth Brandenburg Concerto]] features a harpsichord solo.
			*The coloratura arias of [[Bel canto\|Bel Canto]] composers [[Gaetano Donizetti]], [[Vincenzo Bellini]], and [[Giacchino Rossini]].
			*Mozart wrote a cadenza into the third and final movement of [[Piano Sonata No. 13 (Mozart)\|Piano Sonata in B-flat major, K. 333]], which was an unusual (but not unique) choice at that time because the movement is otherwise in Sonata-Rondo form.
			*[[Ludwig van Beethoven\|Beethoven]]'s [[Piano Concerto No. 5 (Beethoven)\|"Emperor" Concerto]] contains a notated cadenza.<ref name="Grove"/> It begins with a cadenza that is partly accompanied by the orchestra. Later in the first movement, the composer specifies that the soloist should play the music that is written out in the score, and not add a cadenza on one's own.
			* Beethoven famously included a cadenza-like solo for [[oboe]] in the [[recapitulation (music)\|recapitulation]] section of the first movement of his [[Symphony No. 5 (Beethoven)\|Symphony No. 5]].
			*[[Tchaikovsky]]'s [[Piano Concerto No. 1 (Tchaikovsky)\|first piano concerto]] is notable not only for having a cadenza within the first few minutes of the first movement, but also for having a ''second'' – substantially longer – cadenza in a more conventional place, near the end of the movement.
			*[[Sergei Rachmaninoff\|Rachmaninoff]]'s [[Piano Concerto No. 3 (Rachmaninoff)\|Piano Concerto No. 3]], in which the first movement features a long and incredibly difficult [[toccata]]-like cadenza with an even longer alternative or [[ossia]] cadenza written in a heavier chordal style.
			*[[Fritz Kreisler]]'s cadenzas for the first and third movements of [[Beethoven]]'s [[Violin Concerto (Beethoven)\|Violin Concerto]].
			*[[Carl Baermann]]'s cadenza for the second movement of [[Mozart]]'s [[Clarinet Concerto (Mozart)\|Clarinet Concerto]].
			* [[Aaron Copland]] uses a cadenza in his [[Clarinet Concerto (Copland)\|Clarinet Concerto]] to connect the two movements.
			* [[Karol Szymanowski]]'s two violin concertos both feature cadenzas written by the violinist who was intended to play them, Pawel Kochański.
			* In the third movement of [[Edward Elgar\|Elgar]]'s [[Violin Concerto (Elgar)\|Violin Concerto]], there is an unexpected cadenza in which the orchestra supports the solo with a pizzicato tremolando effect. ("cadenza accompagnato")
			* [[Franz Liszt]]'s [[Hungarian Rhapsody No. 2]] for piano contains a cadenza.<ref name="Grove"/> This cadenza is completely improvised by the pianist and it is at the pianist's discretion that such a cadenza is added.
			* Pianists [[Chick Corea]] and [[Makoto Ozone]] incorporated jazz cadenzas into an otherwise traditional performance in Japan of the [[Piano Concerto No. 10 (Mozart)\|Mozart Double Piano Concerto]].
			* [[Rimsky-Korsakov]]'s [[Scheherazade (Rimsky-Korsakov)\|Scheherazade]] features numerous cadenzas for violin.
			* Mozart wrote a cadenza in [[Horn Concerto No. 3 (Mozart)\|Horn Concerto No. 3]], towards the end of the first of three movements.

			===Composed cadenzas===
			Composers who have written cadenzas for other performers in works not their own include:

			* [[Ludwig van Beethoven]] wrote cadenzas for Mozart's [[Piano Concerto No. 20 (Mozart)\|Piano Concerto No. 20 in D minor]]<ref name="Grove"/> first and third movements
			*[[Joseph Joachim]] wrote the cadenza for [[Johannes Brahms\|Brahms]]'s [[Violin Concerto (Brahms)\|Violin Concerto]].<ref name="Grove"/>
			* [[Benjamin Britten]] wrote a cadenza for [[Haydn]]'s [[Cello Concerto No. 1 (Haydn)\|Cello Concerto No. 1 in C]] for [[Mstislav Rostropovich]].
			* David Johnstone wrote ''A Manual of Cadenzas and Cadences for Cello'', pub. Creighton's Collection (2007).<ref>"[http://www.creightonscollection.co.uk/index.html?Pages/scores/DJ/JM30BK.htm~mainFrame Manual of Cadenzas & Cadences]", ''Creighton's Collection''.</ref>
			* [[Wilhelm Kempff]] wrote cadenzas for Beethoven's first four piano concertos.
			* [[Karlheinz Stockhausen]] composed cadenzas for various Mozart concerti for wind instruments, for his children.
			* [[Richard Strauss]] wrote a vocal cadenza in 1919 for soprano [[Elisabeth Schumann]] to sing in Mozart's solo motet [[Exsultate, jubilate]]. This cadenza was sung by [[Kathleen Battle]] in her recording.<ref>{{cite web\|last=Puritz\|first=Gerd\|title=Schumann and Strauss\|url=http://www.elisabethschumann.org/biography/esandrichardstrauss.htm\|work=Elisabeth Schumann, A Biography\|publisher=Grant & Cutler Ltd, London\|accessdate=5 September 2012}}</ref>
			* [[Friedrich Wührer]] composed and published cadenzas for Mozart's piano concerti in [[Piano Concerto No. 21 (Mozart)\|C Major]], K. 467; [[Piano Concerto No. 24 (Mozart)\|C Minor]], K. 491; and [[Piano Concerto No. 26 (Mozart)\|D Major]], K. 537.<ref>[http://www.di-arezzo.co.uk/scores-of-Friedrich+Wuhrer.html].</ref>

			==References==
			{{Reflist\|1}}

			==Further reading==
			* [[Eva Badura-Skoda\|Badura-Skoda, Eva]], et al. "Cadenza". ''[http://www.grovemusic.com Grove Music Online]'' ed. L. Macy (subscription required). Accessed 2007-04-06.
			*Lawson, Colin (1999). ''The Historical Performance of Music: An Introduction'', p.75-6. ISBN 9780521627382.
			* Randel, Don (1986). ''The New Harvard Dictionary of Music''. Cambridge: Harvard University Press. ISBN 0-674-61525-5

			{{Cadences}}
			{{opera terms}}

			[[Category:Cadences]]
			[[Category:Formal sections in music analysis]]
			[[Category:Italian opera terminology]]
			[[Category:Improvisation]]
			[[Category:Music performance]]
			[[Category:Ornamentation]]
			[[Category:Solo music]]

			[[de:Kadenz (Solokonzert)]]
			[[el:Kαντέντσα]]
			[[eo:Kadenco]]
			[[nl:Cadens_(muziektheorie)#Soloconcert]]
			[[pl:Kadencja (muzyka)]]

en>Blah314: /* Families of densities */

2012-08-01T14:11:32Z

Families of densities

New page

I'm Karin and I live with my husband and our two children in Gimmiz, in the south area. My hobbies are Sculling or Rowing, Vintage clothing and Gardening.<br><br>My web page ... kinky files, [http://missgiana.weebly.com great post to read],

Probability density function - Revision history

en>Omnipaedista: style fix

128.39.12.138: /* Example: Quotient of two standard normals */ I removed on instance of repeated identical equation lines

en>AnomieBOT: Dating maintenance tags: {{Citation needed}}

en>Blah314: /* Families of densities */