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J G Albrechtsberger's Collected Writings on Thorough-Bass, Harmony ..., Volume 1
Johann Georg Albrechtsberger
No preview available - 2012
J.G. Albrechtsberger's Collected Writings on Thorough-bass ..., Volumes 1-3
No preview available - 187?
accented division accompanied alto analogous keys answer augmented fourth bass cadence canon Chorale Class of Strict cleff commence composer consecutive fifths consonant chords contain contrary movement counter-subject counterpoint crotchet Decima gravis diminished fifth direct movement dissonant dominant double counterpoint eleventh employed F major Fault fifths and octaves four four-part fourth and sixth free style fundamental note G minor harmony hidden fifths imitation imperfect consonant imply instance instrument intervals introduced inversion last bar leading note major keys major second major semitone major seventh major sixth melody minor and major minor keys minor or major minor third modulation narrabo ninth o-pera omitted penultimate bar pera perfect chord perfect fifth perfect fourth perfect octave Pianoforte position principal key produce resolved by descending rule scale semitone seventh major skip Sonata stretto strict composition strings suspensions tenor tenth thorough-bass tonic transposition treble triad unaccented division unison upper violin whole tones
Page 183 - Seasons (composed in the year 1800), in Vocal Score, with a Separate Accompaniment for the Organ or Pianoforte. Arranged by Vincent Novello.
Page 77 - Histories make men wise, poets witty, the mathematics subtile, natural philosophy deep, moral grave, logic and rhetoric able to contend. " Abeunt studia in mores." * Nay, there is no stond | or impediment in the wit but may be wrought out by fit studies, like as diseases of the body may have appropriate exercises.
Page 156 - The first is called simple, and is made by reversing the notes of a fugal or other subject in its answer, so that the ascending notes of the original passage descend in the answer, and vice-versa; the intervals, or skips, however, are not very precisely re-produced.
Page 156 - That in which the answer follows the subject at the interval of a 5th, octave, etc. i. augmented or i. by augmentation. That in which the answer is in notes of greater value than those of the subject, diminished i. or i. by diminution. A style of imitation in which the answer is given in notes of less value than those of the subject, freely inverted i. That in which the order of successive notes is not strictly retained, i. in contrary motion. That in which the rising intervals of the subject descend...
Page 156 - The second inversion is called strict, and is made similarly to the first, but requires that whole tones should be answered by whole tones, and semitones by semitones.
Page 192 - Inversion in the octave below ; the transposition of the upper part an octave below to form the bass, while the other part remains stationary. Inversion.
Page 156 - The third inversion is called retrograde, and is made by commencing on the last note of the subject, and writing it backwards to the first note— sometimes higher, and sometimes lower, as must happen in relative keys :— Retrograde inversion.
Page 255 - ... his creation — he perceives beforehand the effect of the whole, and judges the mutual connections of the principal and subordinate parts — he can examine the correctness of his work, and improve any accidental defect, and thus give up his production of art in completed perfection. A full-score offers great advantages to the initiated ; by the mere reading or playing of it, on a pianoforte, he becomes as intimate with a composition as though he had himself created it. His eager eye may discover...
Page 255 - It often happens, that several obligato passages in different instruments occur simultaneously, in which case it is impossible for two hands to represent them all. Good judgment must at once decide what is most important, and what is best omitted; the lesser of two evils must be chosen, and a player should retain, in preference, those parts which would make most lasting impression on the ear if the piece were performed by a full orchestra, of which he is the representation—his faithful sketch must...
Page 254 - В — basset and English horns, &c. ; he must always be prepared to transpose them readily to their proper position. Before playing a fullscore, it is advisable to examine the order in which the instruments are placed : it is much to be desired that some law should be agreed upon on this subject, which would greatly facilitate performance ; unfortunately, this is not the case, and each composer acts as he chooses ; for instance, Italians usually write, in the first place, both violins — then...