General musical instruction, tr. by G. Macirone. The musical portion revised by J. Pittman, Volumen26 |
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Página 4
... Fugue 86 4 , Canon 87 4th SECTION . - Homophonic and mixed forms 88 1 , Song form 88 2 , Rondo form - 3 , Sonata ... Fugues - C . On the form of Rondos 130 • 67 D. On the form of Sonatas 131 • INTRODUCTION . REVIEW OF THE PROVINCE OF ...
... Fugue 86 4 , Canon 87 4th SECTION . - Homophonic and mixed forms 88 1 , Song form 88 2 , Rondo form - 3 , Sonata ... Fugues - C . On the form of Rondos 130 • 67 D. On the form of Sonatas 131 • INTRODUCTION . REVIEW OF THE PROVINCE OF ...
Página 49
... fugue in four parts for a violin - but such feats are extraordinary - they are exceptions , depending upon artistic combinations . is But this , its destiny , it is in the highest degree capable of accomplishing , far , very far beyond ...
... fugue in four parts for a violin - but such feats are extraordinary - they are exceptions , depending upon artistic combinations . is But this , its destiny , it is in the highest degree capable of accomplishing , far , very far beyond ...
Página 82
... fugues - for instance , Seb . Bach's - and compare their manner as to the under or accompanying parts in any dance or march ; such a comparison will show the difference at once . Otherwise , polyphonic and homophonic are not so ...
... fugues - for instance , Seb . Bach's - and compare their manner as to the under or accompanying parts in any dance or march ; such a comparison will show the difference at once . Otherwise , polyphonic and homophonic are not so ...
Página 83
... fugue , and canon ; of which we must observe the most important properties . 1. FIGURATION . Figuration we call , first , the accompaniment of any unchangeable melody ; for example , a psalm tune , with one or more molodically ...
... fugue , and canon ; of which we must observe the most important properties . 1. FIGURATION . Figuration we call , first , the accompaniment of any unchangeable melody ; for example , a psalm tune , with one or more molodically ...
Página 84
... FUGUE . The fugue is a composition in two or more parts , in which a phrase of one part , and called the SUBJECT , appears first in one part and then proceeds to another part , and forms the chief substance of the composition . While a ...
... FUGUE . The fugue is a composition in two or more parts , in which a phrase of one part , and called the SUBJECT , appears first in one part and then proceeds to another part , and forms the chief substance of the composition . While a ...
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General Musical Instruction, Tr. by G. Macirone. the Musical Portion Revised ... Adolf Bernhard Marx Sin vista previa disponible - 2016 |
Términos y frases comunes
accompaniment Acis Alexander's Feast alto Anthems arrangement artistic bass beginning bound called chief chord Chorus ciphering circle of fifths clarinet close combined composer composition counterpoint crotchets Deborah degree Dettingen ditto division dominant double Duet example feeling fifth flat four fourth fugue fundamental tone G clef G major Glee harmony Haydn higher horns instruction instruments intervals Israel Jephtha Joshua Judas ledger line Lord Madrigal major scale manner Mass means measure melody Messiah minor third motion Mozart nature ninth notation notes object octave one-lined orchestra passage performance pianoforte playing principal phrase produce quavers relative key rhythm rhythmic Samson Saul scholar score semibreve semiquavers semitone seventh sharp signature singing Solomon Sonata song sound strings succession of tones teacher tenor tion tonic triad Trio triplet vibrations VINCENT NOVELLO Violin Violoncello vocal voice whole written
Pasajes populares
Página 19 - Archbishop Cranmer desired that as his " English verses wanted the grace and faculty which he could wish they had," the king " would cause some other to do them into more pleasant English and phrase.
Página 7 - Speaking of this Treatise, he says — " The admirable Treatise on Counterpoint and Fugue is, in fact, the result of Cherubim's experience as to what was necessary for teaching counterpoint to the pupils of the Conservatoire for nearly a quarter of a century ; and the examples are models of that perfection of style which distinguishes the productions of the ancient Italian masters. GENERAL TABLE OF CONTENTS. Memoir of the Author. Contents of Treatise. Introduction on Counterpoint. Preliminary Propositions...
Página 18 - MOZART'S PIANOFORTE WORKS, An entirely New and Complete Edition, with and without Accompaniments, humbly dedicated by express permission to Her Most Gracious Majesty QUEEN VICTORIA. Edited by CIPRIANI POTTER, Principal Professor of Harmony and Composition in the Eoyal Academy of Music in London. A Thematic Index to toe whole Work will be found in each Volume.
Página 19 - CAROLS FOR EASTER-TIDE, set to ancient Melodies by the Rev. Thomas Helmore, MA Words principally in imitation of the original, by Rev.
Página 57 - And they placed them on the heavenly tablets, each had thirteen weeks; from one to another (passed) their memorial, from the first to the second, and from the second to the third, and from the third to the fourth.
Página 19 - HYMNAL NOTED, or Translations of the Ancient Hymns of the Church, set to their proper melodies. Edited by the Rev. JM Neale, MA, and the Rev. Thomas Helmore, MA Parts I.
Página 16 - NOVELLO'S GLEE-HIVE, A Collection of Popular Glees and Madrigals, In Vocal Score, with ad. lib. accompaniment for Piano-forte. Complete In Three Volumes. Handsomely bound in cloth ; gilt lettering. Price, *)3 each volume.
Página 113 - Does not this want and right proclaim itself from the deep inborn feelings of the people, from tho overflowing abundance of their conceptions, from our countless artists, from our display of the richest productions of art in advance of nations? Shall our festivals be never more joyous with our national songs, which are more abundant, more varied, more melodious, and more deeply touching than those of any people on earth? Shall the evangelical church be perpetually deprived of her own appropriate...
Página 123 - But to any one who enters upon this pursuit with inbred activity, to such a one the regions of sound are illumined and extended with every effort, — the sense of music is vivified, excited, and strengthened by every fresh manifestation of the internal art. Now, with the knowledge of the limitation of chords, freedom in the unfolding of art returns, and her play becomes continually richer and more variegated. Then all artistic forms are imagined and explained, the one from the other — the order...