Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
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Página vi
... fundamental laws , this book is meant to embody a plea for the spirit of modern counterpoint or free part - writing ; that is , the combination of rhythmical , freely moving melodies within the limits of concordant harmonies . As in its ...
... fundamental laws , this book is meant to embody a plea for the spirit of modern counterpoint or free part - writing ; that is , the combination of rhythmical , freely moving melodies within the limits of concordant harmonies . As in its ...
Página 2
... fundamental Harmonic Progressions , that is . the ones which clearly establish the given tonality and are smoothest , are those in which the bass moves a fifth up or down ; for example , I , V ; I , IV ; II , VI ; III , VI ; II , V ; as ...
... fundamental Harmonic Progressions , that is . the ones which clearly establish the given tonality and are smoothest , are those in which the bass moves a fifth up or down ; for example , I , V ; I , IV ; II , VI ; III , VI ; II , V ; as ...
Página 4
... fundamental posi- tion , have no inherent connection , that is , no common tone , and that in such cases the invariable use of contrary motion is the only means of avoiding gross mistakes in rudimentary grammar . Some of the possible ...
... fundamental posi- tion , have no inherent connection , that is , no common tone , and that in such cases the invariable use of contrary motion is the only means of avoiding gross mistakes in rudimentary grammar . Some of the possible ...
Página 8
... fundamental positions of triads , and to har- monize as follows : Here so many fundamentals in succession give a rigid effect , and the use of the subordinate triads II and III rather weakens the tonality . By the introduction of first ...
... fundamental positions of triads , and to har- monize as follows : Here so many fundamentals in succession give a rigid effect , and the use of the subordinate triads II and III rather weakens the tonality . By the introduction of first ...
Página 9
... fundamental position , that is , with its lowest note in the bass and with this note doubled , the dimin- ished fifth is too prominent and the effect is very harsh ; for example , bad bad bad dim The chord therefore is almost never used ...
... fundamental position , that is , with its lowest note in the bass and with this note doubled , the dimin- ished fifth is too prominent and the effect is very harsh ; for example , bad bad bad dim The chord therefore is almost never used ...
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.