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2nd inversion 3rd inversion Allegro altered chords Andante augmented sixth chord bass Beethoven cadencing progression cadencing resolution cello CHAPTER chord factors chord formation chordal tone chromatic Coda composers composition Consecutive fifths diatonic dominant chord dominant harmony dominant ninth chord dominant seventh chord dominant triad E-flat effective example Exercises final cadence following chords following quotations four voices French Sixth Chord frequently G Major Gavotte German Sixth Chord Harmonic Minor Mode Intermezzo interval Italian Sixth Chord J. S. Bach leading tone main key major mode major triads measures mediant Melodic Minor melody modulation Modulatory movement neighboring tone ninth chord non-chordal tone orchestration passing tone perfect fifth period pianoforte Principal Subject resolve root position scale step second inversion six-four chord sixth scale steps skips Sonata Form sound student subtonic supertonic chord suspension tendency theorists tonality tonic chord tonic six-four tonic triad transition upper voices usually violin
Page 150 - When youthful spring around us breathes, Thy spirit warms her fragrant sigh; And every flower the summer wreathes Is born beneath that kindling eye. Where'er we turn, thy glories shine, And all things fair and bright are thine.
Page 150 - When Day, with farewell beam, delays Among the opening clouds of Even, And we can almost think we gaze Through golden vistas into Heaven — Those hues, that make the Sun's decline So soft, so radiant, LORD ! are Thine. When Night, with wings of starry gloom, O'ershadows all the earth and skies, Like some dark, beauteous bird, whose plume Is sparkling with unnumber'd eyes — That sacred gloom, those fires divine, So grand, so countless, LORD ! are Thine.
Page 134 - What is our life but a series of preludes to that unknown song, the first solemn note of which is sounded by death?
Page 134 - Instrumentation: 2 flutes, 2 oboes, cor anglais, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, timpani, triangle, harp, violins, violas, violoncelli, double basses. Folk tunes employed: 'Young Henry the Poacher'; 'Spurn Point' (collected by RVW at Lynn Union, 9 January 1905); 'The Saucy Bold Robber' (King's Lynn, 10 January 1905).
Page iii - Instead of allowing the student to express himself, and guiding him in his self expression, the old method gave the student his set of rules, and woe to him who disobeyed them whether or not, in so doing, the result was artistic.
Page 130 - Symphony (Eroica) is scored for two flutes, two oboes, two clarinets (in b-flat), two bassoons, three horns (in e-flat, but changing), two trumpets (in e-flat), tympani, double bass, and quartet of strings.
Page iii - indirect" method of teaching harmony consists of giving the construction of chords and formulating rules according to their "grammatically" correct progression one to another.