Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
Dentro del libro
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Página vi
... four chords , and no modulations , etc. , and then suddenly telling him that now he is to write free counterpoint , that in which he is to do what- ever he likes , without any previous practice in adapting means to ends . Rather from ...
... four chords , and no modulations , etc. , and then suddenly telling him that now he is to write free counterpoint , that in which he is to do what- ever he likes , without any previous practice in adapting means to ends . Rather from ...
Página ix
... ( FOUR NOTES AGAINST ONE ) . MIC COMBINATIONS V. SYNCOPATED COUNTERPOINT . BELLISHMENTS • PAGE vii · I ORDER 58 SECOND ORDER · 67 THIRD ORDER OTHER RHYTH- 86 RHYTHMIC EM- 109 VI . Two - PART COUNTERPOINT IN THE FLORID STYLE . VARIED ...
... ( FOUR NOTES AGAINST ONE ) . MIC COMBINATIONS V. SYNCOPATED COUNTERPOINT . BELLISHMENTS • PAGE vii · I ORDER 58 SECOND ORDER · 67 THIRD ORDER OTHER RHYTH- 86 RHYTHMIC EM- 109 VI . Two - PART COUNTERPOINT IN THE FLORID STYLE . VARIED ...
Página 1
... four - part writing the power to invent a bass which shall be good both harmonically and melodically , and a melo- dious , interesting soprano , besides one inner part . At the same time these voices must be so planned that the harmonic ...
... four - part writing the power to invent a bass which shall be good both harmonically and melodically , and a melo- dious , interesting soprano , besides one inner part . At the same time these voices must be so planned that the harmonic ...
Página 2
... four parts these progressions will be the well - known ones which the student has used again and again in his studies in harmony . In counterpoint these combina- tions are by no means thrown aside ; they are only ampli- fied in various ...
... four parts these progressions will be the well - known ones which the student has used again and again in his studies in harmony . In counterpoint these combina- tions are by no means thrown aside ; they are only ampli- fied in various ...
Página 10
... four chord of the diminished triad is of no harmonic import , -being used on the weak part of the second beat . As soon , however , as we place this triad in the first inversion , * Compare also , for an analogous effect , the last ...
... four chord of the diminished triad is of no harmonic import , -being used on the weak part of the second beat . As soon , however , as we place this triad in the first inversion , * Compare also , for an analogous effect , the last ...
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.