Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
Dentro del libro
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Página ix
... PROGRESSION • II . Two - PART COUNTERPOINT - FIRST ( NOTE AGAINST NOTE ) ( TWO NOTES AGAINST ONE ) III . Two - PART COUNTERPOINT IV . TWO - PART COUNTERPOINT ( FOUR NOTES AGAINST ONE ) . MIC COMBINATIONS V. SYNCOPATED COUNTERPOINT ...
... PROGRESSION • II . Two - PART COUNTERPOINT - FIRST ( NOTE AGAINST NOTE ) ( TWO NOTES AGAINST ONE ) III . Two - PART COUNTERPOINT IV . TWO - PART COUNTERPOINT ( FOUR NOTES AGAINST ONE ) . MIC COMBINATIONS V. SYNCOPATED COUNTERPOINT ...
Página 1
... Progression §1 . The first requisite for the student who has just fin- ished the study of harmony is the power to look at music horizontally . Heretofore he has either built up harmo- nies on a given bass , or placed harmonies below a ...
... Progression §1 . The first requisite for the student who has just fin- ished the study of harmony is the power to look at music horizontally . Heretofore he has either built up harmo- nies on a given bass , or placed harmonies below a ...
Página 2
... Progressions , that is . the ones which clearly establish the given tonality and are smoothest , are those in which the ... progression of the voices . N. B. I V I V I IV I IV II VI II VI III VI III VI II VII V N. B. In the connection II ...
... Progressions , that is . the ones which clearly establish the given tonality and are smoothest , are those in which the ... progression of the voices . N. B. I V I V I IV I IV II VI II VI III VI III VI II VII V N. B. In the connection II ...
Página 3
... progressions in which the bass moves a third up or down , II , IV ; 111 , V ; VI , I ; etc. The combinations in which the subordinate triad comes first , though possible ... progression , however , in which the General Laws of Progression 3.
... progressions in which the bass moves a third up or down , II , IV ; 111 , V ; VI , I ; etc. The combinations in which the subordinate triad comes first , though possible ... progression , however , in which the General Laws of Progression 3.
Página 4
... progression from a triad to its relative minor . $ 7 . Least common , as far as natural relationship is concerned , though capable of being used with good effect , are those combinations in which the bass moves stepwise , that is , a ...
... progression from a triad to its relative minor . $ 7 . Least common , as far as natural relationship is concerned , though capable of being used with good effect , are those combinations in which the bass moves stepwise , that is , a ...
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
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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.
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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.