Posts filled under #fenerbaheli

Fenerbahede Salih Uann Ay

Fenerbahede Salih Uann Aykut Kocamann elinde yeniden ka gemesi bekleniyor. Fenerbahede transfer almalar devam ederken Aykut Kocaman, Salih Uan ile ilgili kararn verdi. Fenerbahe Transfer almalarn srdrrken Salih Uann takmda kalp kalmayaca da netlik kazand. Geen sezonun banda Romadaki kiralk szlemesi sona erdikten sonra Fenerbaheye geri dnen Salih Uan beklentilerin altnda kalm ve hayal krkl yaratmt. eitli transfer teklifleri ald konuulan Salih Uan ile ilgili Fenerbahe Teknik Direktr Aykut Kocaman, kararn verdi. Topuk Yaylasndaki kampta Salih Uan deerlendiren Aykut Kocaman ynetime olumsuz rapor verdi. Gelecek sezonki kadroda dnlmeyen Salih Uann sat listesine konulaca ifade edilirken oyuncuya Sper Ligden birok kulbn transfer teklifi gtrebilecei renildi. #forma #fener #futbol #fenerum #fenerbahce #fenerbahe #fenerbaheli #fenerbaheliyiz #fenerbahceliyiz #fenerbahecumhuriyeti #fenerbahem #aykutkocaman #salihuan #48 #top #ma #hakem #haber #sondakika #spor #krampon

An extract on #fenerbaheli

This sprightly variation contrasts markedly with the slow, contemplative mood of the theme. The rhythm in the right hand forces the emphasis on the second beat, giving rise to syncopation from bars 1 to 7. Hands cross at bar 13 from the upper register to the lower, bringing back this syncopation for another two bars. In the first two bars of the B part, the rhythm mirrors that of the beginning of the A part, but after this a different idea is introduced. Williams sees this as a sort of polonaise. The characteristic rhythm in the left hand is also found in Bach's Partita No. 3 for solo violin, in the A major prelude from the first book of The Well-Tempered Clavier, and in the D minor prelude of the second book. Heinz Niemller also mentions the polonaise character of this variation.

The first of the regular canons, this is a canon at the unison: the follower begins on the same note as the leader, a bar later. As with all canons of the Goldberg Variations (except the 27th variation, canon at the ninth), there is a supporting bass line. The time signature of 12/8 and the many sets of triplets suggest a kind of a simple dance.

This is the first of the hand-crossing, two-part variations. It is in 34 time. A rapid melodic line written predominantly in sixteenth notes is accompanied by another melody with longer note values, which features very wide leaps: The Italian type of hand-crossing such as is frequently found in the sonatas of Scarlatti is employed here, with one hand constantly moving back and forth between high and low registers while the other hand stays in the middle of the keyboard, playing the fast passages.

Variation 10 is a four-voice fughetta, with a four-bar subject heavily decorated with ornaments and somewhat reminiscent of the opening aria's melody. The exposition takes up the whole first section of this variation (pictured). First the subject is stated in the bass, starting on the G below middle C. The answer (in the tenor) enters in bar 5, but it's a tonal answer, so some of the intervals are altered. The soprano voice enters in bar 9, but only keeps the first two bars of the subject intact, changing the rest. The final entry occurs in the alto in bar 13. There is no regular counter-subject in this fugue. The second section develops using the same thematic material with slight changes. It resembles a counter-exposition: the voices enter one by one, all begin by stating the subject (sometimes a bit altered, like in the first section). The section begins with the subject heard once again, in the soprano voice, accompanied by an active bass line, making the bass part the only exception since it doesn't pronounce the subject until bar 25.