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Melodies and How to Harmonize Them: With Illustrations from Ancient and ...
No preview available - 2008
Melodies and How to Harmonize Them: With Illustrations Drawn from Ancient ...
No preview available - 2015
15th Century 3rd raised 6th Note accidentally raised arpeggi augmented sixth augmented triad B-flat Bach Beethoven beneath Byrde chapter chro chromatic chord circa contrary motion degree of scale Diminished Seventh dominant chord dominant seventh dominant triad effect employed Example 23 EXTRACT fifth Fitzwilliam Virginal Book flat G and F given half-close Henry Purcell illustration imitation ing-note instance interval introduced John Dowland keys of G Loewe major key mediant melody notes minor key minor ninth minor scale modern modulation monization Note Tonic numbers observed octave opening bars original key passage pedal perfect cadence phrase plagal cadence Playford's practical progression quotation quoted raised 3rd raised leading-note scale in melody second bar second inversion seen sequence shown shows simple Sir Hubert Parry song student subdominant submediant supertonic suspension tenor third three-part example tonic chord treated treble and bass Triad and inversions Vincent's Harmony Wagner
Page v - The first of such examples could scarcely have been intended for more than musical tricks to amuse social meetings. It was a new and amusing discovery that two totally independent melodies might be sung together and yet sound well.
Page 121 - ... point where naturally they would be either a major or minor sixth from one another, the downward tendency of the one, and the upward tendency of the other causing them to be respectively flattened and sharpened to make them approach nearer to the notes to which they are moving. In the case of the augmented sixth on the flat second of the key, there is only one note to be altered, and as that note is constantly altered in this fashion in other combinations — namely by substituting the flattened...
Page v - His idea that one voice might wander at pleasure through the scale, while the other remains fixed, shews him to have been a man of genius and enlarged views, who, disregarding rules, could penetrate beyond the miserable practice of his time into our Points d'orgue, Pedale, and multifarious harmony upon a holding note or single base, and suggest the principle, at least, of the boldest modern harmony.
Page iv - He says there are three kinds of symphony, in the 4th, 5th, and 8th ; and that as the combination of some letters and syllables is more pleasing to the ear than others, so it is with sounds in music. All mixtures are not equally sweet.
Page ii - MA: Sc.D. 1925 (9 June) Sir Hugh Percy Allen, MA, of Christ's College, Professor of Music in the University of Oxford, Director of the Royal College of Music : Mus.D. 1925 (21 July) William Wallace Campbell, President of the University of California, and President of the International Astronomical Union : Sc.D. 1925 (21 July) Benjamin Bauland, Director of the Observatory at Paris : Sc.D.
Page iv - Formerly they used to compose from the Bass, but modern authors compose to the Treble when they make Counterpoint or Basses to tunes or songs.
Page 48 - Descant, retarded considerably the recognition of the Dominant and Tonic as the two poles of the harmonic circle of the key ; but Monteverde's use of the seventh, above quoted, shows a decided approach to it.
Page iii - the most part of mine owne precepts false and easie to be confuted by the works of Taverner, Fairfax, Cooper, and infinite more, whose names it would be too tedious to set downe in this place.