Tonal Counterpoint: Studies in Part-writingA. P. Schmidt, 1904 - 258 páginas |
Dentro del libro
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Página ix
... THIRD ORDER OTHER RHYTH- 86 RHYTHMIC EM- 109 VI . Two - PART COUNTERPOINT IN THE FLORID STYLE . VARIED MELODIC DESIGNS · • 119 VII . THREE - PART COUNTERPOINT , INTRODUCING VARIOUS COMBINATIONS OF THE PRECEDING ORDERS . FOR ORGAN SIMPLE ...
... THIRD ORDER OTHER RHYTH- 86 RHYTHMIC EM- 109 VI . Two - PART COUNTERPOINT IN THE FLORID STYLE . VARIED MELODIC DESIGNS · • 119 VII . THREE - PART COUNTERPOINT , INTRODUCING VARIOUS COMBINATIONS OF THE PRECEDING ORDERS . FOR ORGAN SIMPLE ...
Página 2
... third , and a second of a seventh . Worked out in 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 ...
... third , and a second of a seventh . Worked out in 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 ...
Página 3
... third up or down , II , IV ; 111 , V ; VI , I ; etc. The combinations in which the subordinate triad comes first , though possible , should not be used fre- quently ; for example , dddd The reverse progression , however , in which the ...
... third up or down , II , IV ; 111 , V ; VI , I ; etc. The combinations in which the subordinate triad comes first , though possible , should not be used fre- quently ; for example , dddd The reverse progression , however , in which the ...
Página 4
... 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 of. II IV V VI I * Interesting examples of the treatment of the mediant triad. 4 Tonal ...
... 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 of. II IV V VI I * Interesting examples of the treatment of the mediant triad. 4 Tonal ...
Página 6
... Third , the progression from V to IV does not arouse a defi- nite feeling of tonality . We often find in the old Church Composers phrases like the following : PALESTRINA . " Stabat Mater " ( V IV ) ( V IV ) and while these effects were ...
... Third , the progression from V to IV does not arouse a defi- nite feeling of tonality . We often find in the old Church Composers phrases like the following : PALESTRINA . " Stabat Mater " ( V IV ) ( V IV ) and while these effects were ...
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.