Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
Dentro del libro
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Página 1
... relations should seldom appear between the voices , etc. I Copyright , 1904 , by Arthur P. Schmidt いうから is meant that in which each voice has independent melodic CHAPTER GENERAL LAWS OF HARMONIC AND MELODIC PROGRESSION.
... relations should seldom appear between the voices , etc. I Copyright , 1904 , by Arthur P. Schmidt いうから is meant that in which each voice has independent melodic CHAPTER GENERAL LAWS OF HARMONIC AND MELODIC PROGRESSION.
Página 4
... seldom good possible used I II III V VI V IV V IV V IV VI V IV V IV V At ( a ) note the doubled third in the triad on the sixth degree in the well - known progression from V to vi . Here again it is advantageous for the student to think ...
... seldom good possible used I II III V VI V IV V IV V IV VI V IV V IV V At ( a ) note the doubled third in the triad on the sixth degree in the well - known progression from V to vi . Here again it is advantageous for the student to think ...
Página 9
... the effect may be convincing ; for example , the following well - known phrase from Wagner's Tannhauser " : " " Voice Harp f I VI II V7 II V etc. Third , the chord is likewise seldom used in General Laws of Progression 9.
... the effect may be convincing ; for example , the following well - known phrase from Wagner's Tannhauser " : " " Voice Harp f I VI II V7 II V etc. Third , the chord is likewise seldom used in General Laws of Progression 9.
Página 10
... seldom used in its second inversion ; in very rare cases is the following combination available ; for example , BUF VII The student will occasionally , it is true , find passages like the following : BACH . Cantata VIIO but it is quite ...
... seldom used in its second inversion ; in very rare cases is the following combination available ; for example , BUF VII The student will occasionally , it is true , find passages like the following : BACH . Cantata VIIO but it is quite ...
Página 12
... seldom in the fundamental position , for it is one of the most indefinite of the secondary triads . III II VI III II VI III IV I Passages like the above , however good and effective they may have been in the modal , ecclesiastical style ...
... seldom in the fundamental position , for it is one of the most indefinite of the secondary triads . III II VI III II VI III IV I Passages like the above , however good and effective they may have been in the modal , ecclesiastical style ...
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.
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.