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allowed avoided bass canon Canto fermo CHAPTER Cherubini Coda codetta consecutive fifths consonant and dissonant contrapuntal contrapuntists contrary motion countersubject crotchet discords dissonance dominant pedal double counterpoint down-beat episode false relation florid counterpoint following examples four fourth species harmonized music IC2I intervals introduced inversion Is-ra-el last bar last example licence lis pec major sixth melodies midst of thee minims minor major minor mode minor third modulate Note against note octave perfect concord resolved rj rj rules semibreves seventh similar motion skip sometimes species of counterpoint stretto strict counterpoint subject and answer syncopations tenor tenth third species tonal fugue tonic transposed Treatise on Harmony treble twelfth unison up-beat upper viour Г Г Г гз
Page 355 - Great is the ho - ly One of Is - ra - el in the 8 3 756 4 a Ü 7 Л tf tt . l. I. f V *V4t ' r» * ] /Г 5 В JJ — • » ¿•^i • ^ Ë^ 2 Ê'- л m _l f(V\ *
Page 143 - I may say that a fugue has been defined as " a regular piece of music, developed from given subjects according to strict contrapuntal rules, involving the various artifices of imitation, canon, and double counterpoint, and constructed according to a certain fixed plan.
Page 1 - But when we look at a piece of harmonized music from the contrapuntal point of view, we mostly direct our attention to the melodies of which each part should consist, to their combinations one with another, to their fitness for singing, and to their adaptability to further contrapuntal development.
Page 174 - These modulations are not strictly of obligation, nor need they be always followed exactly in the order just laid down. But as a general rule this order will be found the most convenient and effective.
Page 111 - By inverting the intervals, — that is to say, by transposing the lower to the higher, — the unison becomes an octave, the second becomes a seventh, the third becomes a sixth, the fourth becomes a fifth, the fifth becomes a fourth, the sixth becomes a third, the seventh becomes a second, and the octave becomes a unison : — Ex.3.
Page 2 - Note against note. 2. Two notes to one. 3. Four notes, to one. 4. Syncopated. 5. Florid. FIRST SPECIES. P TALLIS. II -y I g. — -gI l
Page 2 - We look at these melodies as it were horizontally, along the paper, from left to right ; and the harmonic derivation of the chords they may jointly produce is kept out of sight.
Page 21 - In the last bar but one the best plan is to let the first crotchet be a third. If the counterpoint is in the upper part, it will ascend...
Page 161 - But no alteration may be made in the subject till after the entry of the answer, nor in the answer till after the entry of the -subject.