Applied Strict CounterpointClarendon Press, 1916 - 100 σελίδες |
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Σελίδα 19
... strong accent , provided that it be prepared on the previous strong or weak accent , and resolve one step downwards on the next weak accent . At this point the concordances may remain to be con- cordances with the resolution of the ...
... strong accent , provided that it be prepared on the previous strong or weak accent , and resolve one step downwards on the next weak accent . At this point the concordances may remain to be con- cordances with the resolution of the ...
Σελίδα 20
... strong accent is the unprepared discord . Thus if we use the ter- minology of harmony , we should say that the chord of the six - four and the chord of the seventh can be used on the strong accent if the discord be prepared , and ...
... strong accent is the unprepared discord . Thus if we use the ter- minology of harmony , we should say that the chord of the six - four and the chord of the seventh can be used on the strong accent if the discord be prepared , and ...
Σελίδα 21
... strong accent . The rest of the notes are concordant , and the resolution forms a new concordance . ( 2 ) is incorrect . The bass G is discordant with the C. F. ( F ) and cannot leap to C. ( 3 ) is correct . ( b ) Ex . 25 . ( 4 ) THE ...
... strong accent . The rest of the notes are concordant , and the resolution forms a new concordance . ( 2 ) is incorrect . The bass G is discordant with the C. F. ( F ) and cannot leap to C. ( 3 ) is correct . ( b ) Ex . 25 . ( 4 ) THE ...
Σελίδα 54
... strong accent , and resolve on the next weak one ; ( c ) All the parts follow the melodic idioms of a bar of Scholastic Counterpoint ( 2 ) ; ( a ) A passing note should rarely be used on the third crotchet except in a part using four ...
... strong accent , and resolve on the next weak one ; ( c ) All the parts follow the melodic idioms of a bar of Scholastic Counterpoint ( 2 ) ; ( a ) A passing note should rarely be used on the third crotchet except in a part using four ...
Σελίδα 61
... strong accent , and should resolve on the next minim . ( e ) Most of the music of the period is published in 1⁄2 time , which is equivalent to two bars of Scholastic Counterpoint . Minims represent accents . Some publishers have ...
... strong accent , and should resolve on the next minim . ( e ) Most of the music of the period is published in 1⁄2 time , which is equivalent to two bars of Scholastic Counterpoint . Minims represent accents . Some publishers have ...
Άλλες εκδόσεις - Προβολή όλων
Applied Strict Counterpoint C H (Charles Herbert) 1874-19 Kitson Δεν υπάρχει διαθέσιμη προεπισκόπηση - 2018 |
Applied Strict Counterpoint C H (Charles Herbert) 1874-19 Kitson Δεν υπάρχει διαθέσιμη προεπισκόπηση - 2018 |
Συχνά εμφανιζόμενοι όροι και φράσεις
adding of plain Aeterna Christi Munera auxiliary discord bar of Scholastic bel lez BYRD Cambiata chè cêr che'l cor chords a bar Chri combined Counterpoint common chords concordant contrapuntal cor mi tóc dance with glad diminished triad dol céz example FARRANT Florid Counterpoint fourth crotchet fourth species Gibbons glad ness hang'd our harps harmonic scheme imitation inversion Iste Confessor Ky ri Kyrie Madrigal Magnificat Melisma minor third Missa Brevis modern Motets nên phôt nôn da sûa nôn puôt Novello Nunc Dimittis nuô PALESTRINA perfect fifth Plainsong Polyphonic Period prepared discord prepared seventh quavers quitted by step rhythm rum ac sat in Ba Scholastic Counterpoint scholastic minim scír second minim semibreve Canto Fermo sên six-four Soprano species principle stra na dol Strict Counter Strict Counterpoint stro strong accent student style sûa bel syncopated technique Tenor third crotchet treatise unessential notes нон
Δημοφιλή αποσπάσματα
Σελίδα 100 - Tell me, where is fancy * bred, Or in the heart, or in the head ? How begot, how nourished ? Reply, reply. It is engender'd in the eyes, With gazing fed ; and fancy dies In the cradle where it lies : Let us all ring fancy's knell ; I'll begin it, — Ding, dong, bell.
Σελίδα 13 - LET it be granted that a straight line may be drawn from any one point to any other point.
Σελίδα 9 - practical result of common everyday experience and observation of those natural laws which must always govern the principles of acceptable tone-combination. Such rules are peculiar to no particular age or period.
Σελίδα 97 - Г ^ strength with his arm; * he hath scat - tered the proud in the imagi ¿=^=»=F ta g ? • i С "10 • -л- РС*-*^.Р • v^ ^-i.
Σελίδα 97 - Ш _ the might-y from their seat: and hath ex- alt- ed the hum- ble and . meek.
Σελίδα 40 - IF we combine first, second, and fourth species, we produce a series of chords moving in minims : Ex.
Σελίδα 47 - J in that place men for ... their use ff»^= ' 1 1 • *** f}O\o&-\ 1 • 1 1 1 — 1 1 1 1 For in . . . that place men for ... their use p -. j (i) ^ ni -Q _, . hP r-tT-ffflf^^fq^^— jj krhad plan - ted ma ny one.
Σελίδα 8 - Ex. 3. his argument being that only common chords and their first inversions, and the first inversion of the diminished triad, can be used, and therefore the combination at (a) is outside the scheme.
Σελίδα 12 - We are only to use common chords and their first inversions and the first inversion of the diminished triad.