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Music Composition: A New Method of Harmony (Classic Reprint) Carl E. Gardner No preview available - 2017 |
Common terms and phrases
active altered applied appoggiatura arrangements augmented sixth avoided bass cadence called cello CHAPTER chordal Coda commences common composers composition considered consists construction contrasting Development Diagram diatonic diminished dissonant division dominant seventh chord doubled effective ending example EXERCISES factor fifth figure final formation four fourth frequently GROUP harmonized interval inversion J. S. Bach leading less major major mode major triads material measure mediant melody method minor mode modulation movement ninth chord non-chordal tone normal Notice occasionally occur octave orchestration original passing tone perfect period phrase pianoforte possible preceding present principal progression quotations repeated resolution resolve root position scale step seventh chord shows skips sometimes Sonata soprano sound strings structure student style subdominant supertonic suspension term theme theorists third tonality tone tonic chord tonic triad transition upper usually various violin voice writing
Popular passages
Page 152 - 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 151 - THOU ART, O GOD. Thou art, O God, the life and light Of all this wondrous world we see; Its glow by day, its smile by night, Are but reflections caught from thee; Where'er we turn, thy glories shine, And all things fair and bright are thine!
Page 152 - 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 136 - What is our life but a series of preludes to that unknown song, the first solemn note of which is sounded by death?
Page 136 - 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 132 - 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.
Page 66 - TONE is an unaccented tone foreign to the chord with which it sounds but a factor in the chord which follows.
Bibliographic information
| Title | Music Composition: A New Method of Harmony |
| Author | Carl Edward Gardner |
| Publisher | Carl Fischer, 1918 |
| Original from | Harvard University |
| Digitized | Oct 23, 2007 |
| Length | 161 pages |
| Export Citation | BiBTeX EndNote RefMan |