A Treatise on Harmony: With Exercises, Part 1

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Boston music Company, 1919 - Harmony
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Page ix - The reason why the tonic, dominant, and supertonic are chosen for roots, is because the harmonics in nature rise in the same manner; first the harmonics of any given note, then those of its fifth or dominant, then those of the fifth of that dominant, being the second or supertonic of the original note.
Page xiv - Reading Exercises on Notes Reading Exercises on Time Reading Exercises on Phrasing Elements of Music, Simply Explained Handbook of Conducting Catechism of the Rudiments of Music Organ Playing: Its Technique and Expression The Child's First Steps in Pianoforte Playing The Forearm-Rotation Principle in Pianoforte Playing Counterpoint: Strict and Free How to Acquire Ease of Voice Production Living Music Rhymes on the Rules of Harmony. Founded on Dr. Prout's Harmony CHC Knowles 350 Exercises in Harmony,...
Page iii - ... one of the most important, and at the same time, one of the least expensive and troublesome, which we possess.
Page xiv - Books, H. Riemann ea. Catechism of Musical Instruments. (Guide to Instrumentation) " Catechism of Orchestration " Introduction to Playing from Score " The Voice and its Control Churchill Sibley The Tenor Voice and its Training E. Davidson Palmer The Boy's Voice at the Breaking Period " Norris Croker Carl Reinecke Vincent d'Indy S.
Page ix - ... the tonic, dominant, and supertonic are chosen for roots, is because the harmonics in nature rise in the same manner; first the harmonics of any given note, then those of its fifth or dominant, then those of the fifth of that dominant, being the second or supertonic of the original note. The reason why the harmonics of the next fifth are not used, is because that note • itself is not a note of the diatonic scale, being a little too sharp, as the fifth of the supertonic, and can only be used...
Page xiii - Cole .60 7 Exercises for Training of the Boy's Voice E. Douglas .60 8 Position and Action in Singing Ed. J. Myer 1.25 9 Vocal Reinforcement " 1.50 10 The Renaissance of the Vocal Art " 1.25 11 Elementary Violin Lessons E. Gruenberg 1.50 12 School of Trio Playing.
Page 7 - ... between the third and fourth, and between the seventh and eighth degrees of the so called natural scale; and thus all is made simple, clear, and definite.
Page xiii - Studies in Musical Graces " E. Fowles .75 5 Gymnastique Vocale AA Giraudet 1.25 6 Exercises in Sight Singing (Solfeggio) SW Cole .60 7 Exercises for Training of the Boy's Voice E.
Page xiv - Instrumentation. (Revised and Supplemented by Richard Strauss) Hector Berlioz Handbook for Singers Beethoven's Pianoforte Sonatas. (Letters) Beethoven, A Critical Biography (ill.) Studies in Phrasing and Form Advice to Young Musicians Sidelights on Harmony Harmonic Analysis Time, Rhythm and Expression The Pianist's Handbook : Part I, A Theoretic Companion to Practice Part II, A Handbook of Musical Form Analysis of Bach's "48 Preludes and Fugues.
Page xv - Palmer 54 55 A Short History of Music WS Rockstro 56 Life of Ethelbert Nevin (ill.) Vance Thompson 57 Studies in Musical Interpretation Tobias Matthay 58 A Concise Dictionary of Musical Terms F. Niecks 59 Introduction to the Elements of Music " 60 Modern Instrumentation for String Orchestra, Military and Brass Bands John Fitzgerald 6 1 Practical Instrumentation. Seven Parts, complete Richard Hofmann 620 Part I. The Strings

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