The Theory and Practice of Tone-relations: An Elementary Course of Harmony with Emphasis Upon the Element of Melody

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G. Schirmer, 1917 - Harmony - 174 pages
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Page 30 - Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Step 9 Step 10: Step 11: Step 12: Step 13: Spectrum Writing Grade 7 Lesson 2 Cause - and - Ef f ec t Relationships Why is milk "milky?
Page 12 - ... self-evident. If we are to meet now, it must be and obviously can only be "here." The "locus nascendi" is determined by the "nunc" (Hie et nunc). It is this presence at a place at a 1 Goetchius, Percy, Mus. Doc. The Theory and Practice of Tone Relations, G. Schirmer Co., 1900, New York., p. 13 #35 The images of musical art, unlike the stationary creations of the arts of painting, architecture and sculpture, are progressive; as in the art of poetry, the impressions in music succeed each other...
Page 3 - From the infinite multitude of possible tones perceptible to the ear, the intuition of man (in civilized countries) has singled out a limited number (at first 7, later 12), which, with their reproduction or duplication in higher and lower registers, by the octave relation, represent the entire absolute tonematerial of the art of music.
Page 15 - RULE I. The general requirements of good melody are: a. smooth and natural undulation (to the exclusion of awkward interval-successions); b. rhythmic variety; c. definite and symmetrical delineation — including frequent confirmation of the melodic figures, either upon the same steps (as direct repetition), or upon other, higher or lower steps (as sequence — par. 128 J). For illustration: 2 BEETHOVEN Ex. 25. •2)< Sequence *1) An example of bad melody, in which all the above-named requirements...
Page 43 - The division is made by a cadence in the middle of the sentence (on an accent of the fourth measure), which is called the Semicadence, and differs from the perfect cadence in being made upon some lighter form of harmony.
Page 14 - ... can hardly be reduced to a system, but must be left largely to the individual talent, native sagacity, or acquired skill of the composer.
Page 15 - An example of bad melody, in which all the above-named requirements are wanting. *2) A good melody, fulfilling all the given conditions.
Page 5 - Intervals are always counted upward, along the diatonic major scale of the lower tone. The number of the step which is occupied by the upper tone is the numerical name of the interval.
Page 63 - In the first inversion they are at the top, in the second inversion in the middle, and in the third inversion at the bottom of the chord-form; thus: I t 165.

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