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approached and quitted avoided Bach bar of Scholastic bass Cadence cadential Cambiata change of harmony CHAPTER Cherubini chordal centres Combined Counterpoint common chord concord consecutive fifths contrapuntal contrary motion course decoration diatonic dissonant Dorian Mode exposed consecutives Fifth Species Florid Counterpoint following examples fourth crotchet Fourth Species harmonic progression harmonic resource harmony note idiom implied harmony interval inversion J J J J. S. Bach Kyrie leading note major sixth mental effect Minor Mode minor seventh Missa Brevis Missa Papae Marcelli modulation Musica Ficta octave Oxon Palestrina passing chord passing note phrase Polyphonic Period prepared discords principles procedure quavers rhythm root rules scalic Scholastic Counterpoint second crotchet second minim Second Species semibreve similar motion six-four Strict Counterpoint student successive bars suspension syncopated syncopated concords technique theorists third crotchet Third Mus Third Species Tonic triads unessential notes write
Page 17 - The governing principle, technically speaking, of Palestrina's melody is of course that of conjunct movement ; this, however, is beautifully varied by the constantly changing value of the notes [ie secondary rhythm] and also by occasional disjunct intervals, which are permitted upon the condition of not continuing in the direction of the leap, but immediately returning by gradual motion towards the point of departure.
Page 337 - I'KItKlNS. 1. Blest are the pure in heart, For they shall see our God ; The se - cret of the Lord is theirs ; Their soul is his a - bode.
Page vii - Parry (The Oxford history of Music, vol. III), The music of the seventeenth Century.
Page 288 - This at the end of one phrase and the beginning of the next is always good.
Page 163 - It should be borne in mind that any classification of the vertical combinations we call chords is entirely foreign to the horizontal system, and that no prepared discord bears any relation to the essential harmony, that is, it demands no consideration except that it move one step downward into consonance. Ignoring the discord, the following is the contrapuntal analysis...
Page 17 - ... notes, and also by occasional disjunct intervals, which are permitted upon the condition of not continuing in the direction of the leap, but immediately returning by gradual motion towards the point of departure. ' This rule may also, of course, be deduced from the methods of Palestrina's predecessors since 1450, but there is in his application of it a certain final elegance, representing the ideal in such matters, which had been aimed at generally hitherto, but was now for the first time attained.
Page 13 - CF in notes of uniform length serves as the link between the old art and the new; that is, it enables men not only to study the methods of the sixteenth century, so far as technique is concerned, but also to use them as a training in the decoration of a preconceived harmonic structure.
Page 149 - Whenever two parts move in parallel thirds or sixths by conjunct degrees (the first combination being essential and the second unessential), they should proceed in parallels till they...