Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
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Página 13
... leap in the bass , give a very weak progression . To sum up * For a beautiful use of secondary triads see the following passage from Elgar's " Dream of Gerontius " . pp the matter of the last few paragraphs , nothing con-. General Laws ...
... leap in the bass , give a very weak progression . To sum up * For a beautiful use of secondary triads see the following passage from Elgar's " Dream of Gerontius " . pp the matter of the last few paragraphs , nothing con-. General Laws ...
Página 63
... leap of a third ) triads IV and V may be smoothly com- bined ; for example , 6 6 6 6 IV V V IV $ 41 . The best and most usual cadences are the follow- ing : S best possible best possible 6 6 . best 6 best possible 6 6 4 S ΚΟΣ $ Two ...
... leap of a third ) triads IV and V may be smoothly com- bined ; for example , 6 6 6 6 IV V V IV $ 41 . The best and most usual cadences are the follow- ing : S best possible best possible 6 6 . best 6 best possible 6 6 4 S ΚΟΣ $ Two ...
Página 81
... leap of a third in contrary motion to the bass . $ 52 . We now write two counterpoints to a short melody in the minor mode ; S 6 ( a ) 6 6 6 the second measure illustrates the usual treatment of the minor scale in the contrapuntal voice ...
... leap of a third in contrary motion to the bass . $ 52 . We now write two counterpoints to a short melody in the minor mode ; S 6 ( a ) 6 6 6 the second measure illustrates the usual treatment of the minor scale in the contrapuntal voice ...
Página 89
... leap ( this point will be explained later ) , and yet the writing is very stiff and monotonous . Let the student play over Example 2 and he will see at once how much freer is the range of the counterpoint and how much greater its life ...
... leap ( this point will be explained later ) , and yet the writing is very stiff and monotonous . Let the student play over Example 2 and he will see at once how much freer is the range of the counterpoint and how much greater its life ...
Página 91
... leap to an accented note is preceded by a step in the same direction ; that is , in examples ( a ) and ( b ) the com- binations of notes d , c , a , and b , c , e , are disjointed and unmelodic . By grouping the changing notes as in ...
... leap to an accented note is preceded by a step in the same direction ; that is , in examples ( a ) and ( b ) the com- binations of notes d , c , a , and b , c , e , are disjointed and unmelodic . By grouping the changing notes as in ...
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.