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Exercises in Melody-Writing: A Systematic Course of Melodic Composition ...
No preview available - 2013
4th Step 6th or 4th 7th scale-step 8-measure melodies accented beat according Active scale-steps Active tone Adagio Allegretto Allegro Altered Scale-steps altered Steps Andante appoggiatura AUegro Beethoven C-major C-minor changes of key CHAPTER Chopin chord chord-line chromatic inflection Consequent Phrase corresponding direction downward effect embellished essential tone example EXERCISES IN MELODY-WRITING former melodies FUNDAMENTAL HARMONIC Germ harmonic illustration inharmonic irreg irregular large number latter Leading-tone Lento lower neighbor Lpar major and minor major scale Melodic form Mendelssohn minor alternately modified recurrence Mozart musical neighboring-note next-related key number of 4-measure number of former occasional orig Original line passing-notes PERCY GOETSCHIUS perfect cadence Period-form prescribed in Lesson Primary Rule principal tone rare regular Relative key repetition or sequence Resolution rhythmic group scale scale-line Schubert Second-Dominant semicadence species of Measure step-wise progression Sub-dominant succession Suspension three tones throughout time-values Tonic Triad unaccented unessential upward wide leap wide skip
Page 6 - Triad, or harmonic core of the key, see par. 18) are Inactive. They occupy the centre of harmonic repose, and are therefore inert, not moving except in obedience to some outward impulse. The others, — the 7th, 6th, 4th and 2nd scale-steps, are Active, because they lie outside of this circle of harmonic repose, and are urged by their inherent impulse to regain the condition of rest. For illustration: C major.