Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
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Página 5
... dominant ) than vice versa . Second , the dominant and subdominant triads have no inherent connection , that is , no common tone ; they merely have the secondary connection of referring to the same common tonic . In fact , when this ...
... dominant ) than vice versa . Second , the dominant and subdominant triads have no inherent connection , that is , no common tone ; they merely have the secondary connection of referring to the same common tonic . In fact , when this ...
Página 6
... dominant progresses so much more natu- rally to the tonic triad with which it has a tone in common than to the subdominant , that the progression V , IV , when the subdominant comes on the strong beat , has practi cally the effect of ...
... dominant progresses so much more natu- rally to the tonic triad with which it has a tone in common than to the subdominant , that the progression V , IV , when the subdominant comes on the strong beat , has practi cally the effect of ...
Página 7
... dominant in the upper voice should be used but rarely . For if V and IV are grouped in this way V IV the interval of the augmented fourth ( or so - called “ tri- tone , " three whole tones ) is plainly heard between the outer voices ...
... dominant in the upper voice should be used but rarely . For if V and IV are grouped in this way V IV the interval of the augmented fourth ( or so - called “ tri- tone , " three whole tones ) is plainly heard between the outer voices ...
Página 11
... dominant seventh harmony during the last two centuries , the second inver- sion of the dominant seventh ( the so - called chord of the third and fourth ) may seem to the student richer in its effect as well as more customary , but the ...
... dominant seventh harmony during the last two centuries , the second inver- sion of the dominant seventh ( the so - called chord of the third and fourth ) may seem to the student richer in its effect as well as more customary , but the ...
Página 12
... dominant seventh chord with the generator or ground tone omitted ; for example , V7 VIIO In passing we may point out that the same chord when found on the second degree of the minor mode is closely related to the chord of the seventh on ...
... dominant seventh chord with the generator or ground tone omitted ; for example , V7 VIIO In passing we may point out that the same chord when found on the second degree of the minor mode is closely related to the chord of the seventh on ...
Otras ediciones - Ver todas
Tonal Counterpoint: Studies in Part-writing Walter Raymond Spalding Sin vista previa disponible - 1932 |
Términos y frases comunes
1st Violin accented passing note alto voice analyze Andante arpeggio auxiliary note Bach bass beat BEETHOVEN cadence Cello changing notes chief melody choral chromatic Clavichord combinations composer composition consecutive fifths contrapuntal counter cresc diatonic dissonant dominant seventh double counterpoint effect example exercises fifths and octaves florid flowing four notes fourth Fugue fundamental position HANDEL harmony note Haydn imitation inner voices interest interval introduced leading tone leap let the student lower voice major measure melody minor mode minor scale modulation motion Mozart octave outer voices outline part-writing passage perfect fifth phrase pianoforte possible practice Prelude progression range related keys repeated notes SCHUMANN second inversions seldom seventh chord simple six-four chord sixth degree skips Sonata soprano string quartet style suspension Symphony syncopation third three-part tion tonality tonic transposed treated triad two-part writing upper voices VIIO Viola Cello Violin Violin Viola vocal writing for strings
Pasajes populares
Página 228 - The first expressions of co-operation were found in the co-operative and communistic colonies which settled on the land in the latter part of the Eighteenth Century and the early part of the Nineteenth Century.
Página 157 - Organizational structures are not an end in themselves, but a means to an end.
Página 258 - ... must have something to say and he must know how to say it in such a way as to capture public attention.
Página 198 - Haydn and the first movement of Beethoven's Sonata in D minor, Op. 31, No. 2.
Página 258 - ... these realms, Attention may be termed specific, and when the control of the adopted purpose of existence as a whole is maintained through its means, establishing an efficient and wellordered unity amongst the many divisions and details of that purpose, then we may designate Attention as supreme. " Genius " has been defined as " an infinite capacity for taking pains.
Página 23 - Tie should gradually have these tables at his finger-ends as well as in his head; for they form in themselves alone a fundamental system of diatonic harmony which, if thoroughly mastered, will be of the greatest assistance in all future studies.
Página 77 - ... found between the sixth and seventh degrees of the harmonic minor scale, should seldom be employed.
Página 42 - ... the seventh and eighth measures of the first movement of Mozart's C Maior Symphony.