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2nd step 6th scale-step 6th step accented beats active tone add a number Allegro altered chords alto Andante bass note bass tone Beethoven change of key Chopin chord-fifth chord-interval chord-progressions chord-repetition chromatic Comp connection cross-relation diatonic discord dissonance dominant chord doubled downward embellishment enharm example EXERCISE Faisst figural FUNDAMENTAL PRINCIPLES G major half-step harmonic degree illustration inharmonic interval inversions irregular leading-tone lower major and minor major keys major scale measures mediant melody Mendelssohn minor keys mixed chords mode modulation modulatory motive neighb.-note neighboring-note ninth number of Original octave org.-pt organ-point Original phrases passing-note passive resolution perfect cadence perfect fifth possible principal tone principal triad progression raised 4th step relative key resolved rhythm rhythmic root rule scale scale-step semi-cadence seventh skip soprano subdominant succession suspension tenor third tonic chord unaccented upper neighbor usually wide leap
Page 3 - ... to denote successions of single tones which are musically effective " (in the latest edition of Grove's Dictionary of Music and Musicians). This definition is given by Percy Goetschius, one of the few musicologists of the West who has paid any serious attention to this subject : " A melody is a line of tones ; a line whose successive points are fixed sounds, which define its flexions, its rising, falling, poising, in various rhythmical forms. Melody is therefore the same element in music that...
Page iii - A good deal of sound information in small space." Athenaeum Goetschius, Percy Material used in musical composition; a system of harmony, new ed 1913 Schirmer $2.50 781 "First issued in 1882, in Stuttgart. . . In completely remodeled form it was published by Mr Schirmer in America [in 1889]. In 1895 it was again partially revised. For the present edition it has been again thoroughly revised, rearranged and re-written.
Page 236 - The ruling condition .for these "wandering harmonies," — as far as it is possible to systematize so elusive a process, — seems to be: That any change which results from either a whole-step or half-step progression in any or all of the parts, is permissible (as long as it preserves a reasonable degree of consonance), by virtue of the relation of propinquity.
Page 6 - It may seem impossible to establish definite rules for the mechanical invention of a melody, because this preeminent musical element is the mysterious product of many and varied natural principles, whose subtle interactions must be perceived by instinct rather than by reason. Nevertheless, there certainly are general laws and rules of melodic movement which can and must be learned.
Page 3 - ... forms. Melody is therefore the same element in music that the line is in a picture or drawing of any character, simple or complex. These tone-lines determine all the tangible impressions imparted to an intelligent mind by the music ; and they represent so nearly the sum of what is indicated by a musical sentence, that it may be said that the lines (that is, the melodies) are the music. With this conception of music, as a system of tone-lines, the student cannot become too deeply impressed ; for...
Page 19 - Successive chord-fifths sound disagreeable because of the comparatively unpleasant sound of the interval of a perfect fifth. The ear accepts one of these at a time (especially when softened by the presence of a third), but rejects two in close and evident succession.
Page 213 - When a neighboring-note, instead of returning for resolution to its own principal tone, progresses in the same direction...
Page 10 - Harmony, in its narrower sense, is the combination of single tones; in its wider sense, the association and succession of such harmonic bodies.
Page 14 - A major third and perfect fifth constitute a major triad; a minor third and perfect fifth, a minor triad.