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actual bass added 6th chord alto appear arpeggio augmented triads authentic cadence CHAPTER chord followed chromatic alteration chromatic passing note combination D7 chord depressed 3d descends diatonic scale directly related keys dissonant doubled effect elevated embellishments enharmonic extended auxiliary extended cadences extended passing note fifth figured bass following exercises fourth higher fundamental position half step harmonization of melodies harmony note imitation indicated initial key interval key of G leading tone major keys major second major to minor major triad minor keys minor mode minor scale modulation by Rule note of modulation occurs octave omitted passing modulation pedal point perfect fifth preceded primary note progression resolved retardation scale is harmonized second inversion signature soprano step step student Subdominant submediant substituted 6th chord subtonic succession supertonic suspension symbolized figuring tenor Tj chord tonality Tonic minor transposed whole step
Page 304 - THE two hundred and fifty hymns admitted to this collection have been carefully chosen for the dignity, strength, and musical beauty of their tunes and the depth of feeling and poetic merit of their words. Here are the best hymns of the Wesleys, Isaac Watts, Reginald Heber, and James Montgomery, CaswalPs and Neale's translations of historic medieval hymns, and, of the later writers, the work of Frederick W. Faber, Horatius Bonar, Washington Gladden, and Phillips Brooks, of Frederick L. Hosmer, John...
Page 304 - President of Adelphi College, Brooklyn. Ginn and Company, publishers. Price, 50 cents. The two hundred and fifty hymns admitted to this collection have been chosen with especial reference to their fidelity in the expression of religious experience, their depth of feeling, and their poetic merit. These hymns are joined to about two hundred tunes, arranged with reference to the needs of the average singing voice, and chosen because they are believed to...
Page 12 - The new interval thus formed takes its name from the complement of the octave; for example, a unison inverted becomes an octave, a second becomes a seventh, a third becomes a sixth, a fourth becomes a fifth, a fifth becomes a fourth, a sixth becomes a third, a seventh becomes a second, and an octave becomes a unison. The following shows how these arise: tT -«s>- -«: -«=a =p 9 -•=»- -of
Page 127 - Then they praised him, soft and low, Called him worthy to be loved, Truest friend and noblest foe ; Yet she neither spoke nor moved. Stole a maiden from her place, Lightly to the warrior stept, Took the face-cloth from the face ; Yet she neither moved nor wept.
Page 303 - FORTY-ONE selections, none of which is commonly found in collections for high-school use. Each selection, however, is a masterpiece which every high-school pupil ought to know. Together they offer great variety in every phase of mood, form, verse, and music. We can now furnish orchestrations for any of the selections in this book.
Page iii - Melody-making (as a superstructure) from harmonized given bass sets, and the harmonization (as a substratum) of given melodies, are introduced almost at the outset and continued with constantly cumulated harmonic elements through the work.
Page iii - By means of the plan here presented, the student is led, step by step, through the process of theory and practice, and becomes himself a party to the building up of the system. The work is made continuously cumulative.
Page 303 - NEWTON THE MUSICAL ART SERIES is unique in school music. It offers authoritative versions of standard, appealing music of every class, in a form at once convenient, economical, practical, and artistic. The teacher is now enabled to select for his classes just the sort of songs that he wants, without...