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Author: William Alfred White
Publisher:
ISBN:
Category : Harmony
Languages : en
Pages : 202
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Book Description
Author: William Alfred White
Publisher:
ISBN:
Category : Harmony
Languages : en
Pages : 202
Get Book Here
Book Description
Author: William Alfred White
Publisher: Forgotten Books
ISBN: 9781330050910
Category : Music
Languages : en
Pages : 195
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Book Description
Excerpt from Harmonic Part-Writing The single aim of this text is to give a mastery of the foundation of all composition - four-part writing. It does not assume to offer a theory of music, nor does it present an exposition of scales, intervals and chord material. Composition for four parts, vocal or instrumental, is its theme. The consideration of preliminary work is found in the author's "Harmony and Ear-Training," the first six chapters of which should be mastered by the student. After a half years' work on these chapters, "Harmonic Part-Writing" may be taken up and the two books then used simultaneously. A complete substitute for the figured bass is here given. It is the outgrowth of a series of experiments extending over many years. The results secured with various classes in different sections of the country have given convincing evidence of its value. In the system of "thorough bass," a 6th-chord may mean the first inversion of a major, a minor, a diminished or an augmented triad, or even an augmented 6th-chord, there being no means of discriminating between them. The same objection holds for all other figurings; thus a 3-4-chord might mean the second inversion of a dominant 7th-chord, or of a diminished 7th-chord, or various kinds of secondary 7th-chords. Another fault of the older system is that it tends to decidedly unmusical thinking. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: William Alfred White
Publisher:
ISBN:
Category : Harmony
Languages : en
Pages : 200
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Book Description
Author: Edward Aldwell
Publisher:
ISBN:
Category : Harmony
Languages : en
Pages : 202
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Book Description
Harmony and voice leading is a textbook in two volumes dealing with tonal organization in the music of the eighteenth and nineteenth centuries.
Author: Felix Salzer
Publisher: Columbia University Press
ISBN: 023107039X
Category : Composition (Music)
Languages : en
Pages : 504
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Book Description
-- Stanley Persky, City University of New York
Author: Richard Cohn
Publisher: OUP USA
ISBN: 019977269X
Category : Music
Languages : en
Pages : 256
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Book Description
Reconstructing historical conceptions of harmonic distance, Audacious Euphony advances a geometric model appropriate to understanding triadic progressions characteristic of 19th-century music. Author Rick Cohn uncovers the source of the indeterminacy and uncanniness of romantic music, as he focuses on the slippage between chromatic and diatonic progressions and the systematic principles under which each operate.
Author: Walter Raymond Spalding
Publisher: Forgotten Books
ISBN: 9781330326749
Category : Music
Languages : en
Pages : 278
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Book Description
Excerpt from Tonal Counterpoint: Studies in Part-Writing §1. The first requisite for the student who has just finished the study of harmony is the power to look at music horizontally. Heretofore he has either built up harmonies on a given bass, or placed harmonies below a melody in the soprano. To form correct chords and to connect them in a grammatical and fairly agreeable way has taken other voices, individually and in its relation to the other voices, is chiefly to be considered. The eye must follow each part throughout its range, and the endeavor must be directed toward the formation of a good flowing melody. §2. A Second point of difference between the study of harmony and counterpoint is this: that whereas the melody has heretofore always been either in the bass or in the soprano, nothing is more common in free part-writing than to find the melody is so placed, there is implied in four-part writing the power to invent a bass which shall be good both harmonically and melodically, and a melodious, interesting soprano, besides one inner part. At the same time these voices must be so planned that the harmonic background, outlined by the notes sounded together on the strong beats, shall be natural and satisfactory. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: William Alfred White
Publisher:
ISBN: 9781017521634
Category : History
Languages : en
Pages : 0
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Book Description
Author: Alfred Blatter
Publisher: Routledge
ISBN: 113587039X
Category : Music
Languages : en
Pages : 354
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Book Description
Revisiting Music Theory: A Guide to the Practice contains the basics of music theory with the vocabulary used in harmonic and formal analysis. The book assumes few music reading skills, and progresses to include the basic materials of music from J. S. Bach to the twentieth century. Based on Blatter’s own three decades of teaching music theory, this book is aimed at a one or two year introductory course in music theory, can serve for individual study, or as a review for graduate students returning to school. Drawing examples from well-known classical works, as well as folk and popular music, the book shows how theory is applied to practice. The book is divided into five parts. The first part introduces music notation, reviewing the basics of pitch, time, and dynamics as represented in written music. Part 2 introduces the concept of melody, covering modes, scales, scale degrees, and melodic form. Part 3 introduces harmony, dealing with harmonic progression, rhythm, and chord types. Part 4 addresses part writing and harmonic analysis. Finally, Part 5 addresses musical form, and how form is used to structure a composition. Revisiting Music Theory will be a valuable textbook for students, professors, and professionals.
Author: Carl McKinley
Publisher: Wipf and Stock Publishers
ISBN: 1610975316
Category : Music
Languages : en
Pages : 153
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Book Description
Since its first appearance in 1938 Harmonic Relations has been in continuous use in the classrooms of the New England Conservatory of Music. Every chapter, illustration, and exercise has been subjected to the most careful scrutiny, in an effort to make each statement and explanation as simple and clear as possible, and the exercise material varied, musical, and attractive. The revised edition has benefited greatly from the combined experience of students and teaching staff. Material that proved of doubtful value has been eliminated, the order of presentation has been considerably revised, and much new material has been added, particularly in the latter part of the book. Its principal object is to provide the student with a comprehensive knowledge of the principles of harmonic writing as they may be observed in the works of the great composers of the past, and a theoretical basis for the investigation of the divergent harmonic practices of contemporary writers. From the Introduction TABLE OF CONTENTS I Scales II Intervals III Triads; Tonality IV Chord-root Progressions in ClassÊI V Chord-root Progressions in ClassÊII VI Chord-root Progressions in ClassÊIII VII Harmonization of Melodies VIII First Inversions of Triads IX Second Inversions of Triads X The Minor Mode XI Harmonization of Figured Basses XII Fundamental Harmonic Relations XIII The Dominant Seventh Chord XIV The Inversions of the DominantÊSeventh Chord XV Extended Dominant Harmonies XVI The Supertonic Seventh Chord XVII Other Diatonic Seventh Chords XVIII Modulation by Common Chords XIX Harmonization of Chorale Melodies XX Chromatic Triads XXI Neighbor Dominant Seventh Chords XXII Neighbor Diminished SeventhÊChords XXIII Augmented Sixth Chords XXIV Non-chord Tones XXV Non-chord Tones in the Bach Chorale XXVI Modulation by Chromatic Chords XXVII Altered Chords XXVIII Mixed Chords; the Pedal Point XXIX Harmonization of Florid Melodies XXX Harmony in Five or More Parts
