Theory and Practice of Musical Composition

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Mason Brothers, 1860 - Composition (Music) - 165 pages
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Contents

II
53
III
72
IV
94
V
113
VI
131
VII
149
VIII
161
IX
228
X
248
XI
266
XII
279
XIII
283
XIV
338
XV
358

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Page 29 - From the fourth to the fifth, from the fifth to the sixth, and from the sixth to the seventh, the intervals are all full tones ; but from the seventh to the eighth the interval is a semi tone.
Page 4 - Co., for which accept my warmest thanks. * * * * I find that your translator (as far as I am able to judge from a somewhat imperfect acquaintance with the English language...
Page 29 - ... first to second and fourth to fifth of the scale, and from coloured to coloured, or from the sixth to the seventh of the scale, the relation is always 8 : 9. From white to coloured, being from the second to the third, and from the fifth to the sixth of the scale, 9 : 10. From coloured to white, being from the third to the fourth, and from the seventh to the eighth of the scale, 15 : 16. From white to white, or coloured to coloured, is always the major tone, 8 : 9.
Page 3 - Composition, that any recommendation of his great work to those who are at all acquainted with the musical literature of the land which is emphatically the home of music, would be superfluous.
Page 410 - Appendixes have been composed to be explanatory commentaries to the large treatise of Marx, yet they form a whole in themselves, and from the treatment of the triad down to the passing-notes, where they break off', they form a compendium of the matters contained in them, in which nothing necessary to the instruction of the pupil has been omitted.
Page 116 - ... others. That is the answer to the first of the two questions of pure reason which relate to its practical interest: Do that which will render thee worthy of happiness. The second question is this: If I conduct myself so as not to be unworthy of happiness, may I hope thereby to obtain happiness? In order to arrive at the solution of this question, we must inquire whether the principles of pure reason, which prescribe a priori the law, necessarily also connect this hope with it. I say, then, that...
Page 55 - We recognize the Tonic, therefore, as the beginning and end of the scale. The latter originates from the Tonic and returns to it. In juxta-position to the Tonic — the moment of repose, — the scale — the moment of motion, — is formed. Here we have discovered at last an antithesis which runs through the whole science of music — REPOSE and MOTION, TONIC and SCALE.
Page 410 - ... to the instruction of the pupil has been omitted. They have another advantage; they offer the teacher of harmony a text-book in which the fundamental laws of harmony have been laid down, so that he will have no other task to perform than to direct and superintend the work of his pupil, being thus relieved from giving, himself, but very few directions.
Page 76 - ... yet held by Indians. I think we are about 10 short of what the Secretary of State promised at that time leaving out of account the additions made subsequently for Burma and Assam. Now, Sir, the Secretary of State's orders were passed in about 1890 or 1891, and twenty years have elapsed since then. If for nothing else, at least for the fact that it is now 25 years since the appointment of the Public Service Commission, and 20 years since the Secretary of State passed his orders on the recommendations...
Page 210 - Because this continuation is a phrase by itself, us it were; a new piece which takes up the thread of the previous phrase at a different place, and perhaps in a different sense. And it is exactly because the continuation in the third measure is considered as a new phrase, that we consider the new chord E^y^ at once as a tonic chord, though the key of E,t is only indicated by the dominant chord bb-df-dy, which occurs three notes later.

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