DOCSLIB.ORG

Advanced Harmony Theory and Practice 5Th Edition Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Advanced Harmony Theory and Practice 5Th Edition Pdf, Epub, Ebook ADVANCED HARMONY THEORY AND PRACTICE 5TH EDITION PDF, EPUB, EBOOK Robert W Ottman | --- | --- | --- | 9780130833396 | --- | --- Advanced Harmony Theory and Practice 5th edition PDF Book Haydn, when asked according to what rule he had introduced a certain harmony, replied that "the rules were all his very obedient humble servants"; and when we find that in our own time Wagner, or Brahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. Book Description Condition: New. In other words, practice must precede theory. The next third above A will clearly be C. Elementary Acoustics. Possible ex library copy, will have the markings and stickers associated from the library. The latter, being the octave of II, will evidently be equally out of tune, and therefore unavailable ; but No. Lastly, we stated that the 27th harmonic was only -gV too sharp for a true major 6th. Items related to Advanced harmony; theory and practice. Therefore the nth harmonic is? Download instructor resources. C D Minor tone D E Ottman, Robert W. Theory texts tend to present traditional materials in categories, their uses shown as abstract examples or from simple and uncomplicated excerpts from the works of composers. Elementary Harmony: Theory and Practice. If we examine the lower tetrachord here, we see that it has no semi- tone ; we also see that there is only a semitone between the two tetrachords, instead of the "tone of disjunction. Thus between numbers I and 2 of the series is an interval of an octave ; therefore in every octave there are two vibrations of the upper note to one of the lower in the same time. All the intervals in the chords remain the same as to their names, but differ in quality according to their position in the scale. All these sharp keys have been obtained by making the upper tetra- chord of one key the lower tetrachord of the next, or, in other words, by making the dominant of one key the tonic of the following. Has little wear to the cover and pages. Stock Image. About this Item: Paperback. From this we see, in the words of Helmholtz, that " the system of Scales, Modes, and Harmonic Tissues does not rest solely upon unalterable natural laws, but is at least partly also the result of sesthetical principles, which have already changed, and will still further change with the progressive development of humanity " Sensations of Tone, p. Book is in Used-Good condition. In some cases, as will be seen in the next chapter, this is absolutely necessary to avoid consecutive fifths and octaves. This seventh, often called the " harmonic minor seventh " is, as already said, slightly flat, being a little more than a true major tone below the eighth note of the series ; for its ratio is 7 : 8, while the major tone is 8 : 9. This will be seen later see Chapter II. Availability This title is out of print. Advanced Harmony Theory and Practice 5th edition Writer Preface Advanced Harmony: Theory and Practice, fifth edition, continues the course of instruction in basic music theory begun in Elementary Harmony: Theory and Practice, fifth edition Prentice Hall, The series of descending fifths with their signatures will be as follows : Tonic. The first inversion of a chord, as we have just said, has the third in the bass. All the intervals in the chords remain the same as to their names, but differ in quality according to their position in the scale. As the word semitone means " half tone," it is evident that two semitones together will make a tone. Other forms of the minor scale frequently to be met with will be explained later. The cover shows normal wear. Condition: Acceptable. That the manner in which the exercises are to be done may be clearly understood, we will work a short passage as a model for the student, explaining the progression of every note in each chord, and giving the reasons for the way in which one follows another. About this Item: Prentice-Hall, Inc. For introductory-level courses in Music Theory. In some cases, as will be seen in the next chapter, this is absolutely necessary to avoid consecutive fifths and octaves. All these positions as will be shown later are not equally good ; but the chord is the same in each instance. Oblique Contrary. The work is protected by local and international copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Formerly the keys that we now call C major and C minor were described as "the key of C with the greater third" and "the key of C with the lesser third. What is now to be stated is not in the nature of theory, but of physical fact, and is perfectly familiar to students of natural philosophy. This seventh, often called the " harmonic minor seventh " is, as already said, slightly flat, being a little more than a true major tone below the eighth note of the series ; for its ratio is 7 : 8, while the major tone is 8 : 9. Hence we get another rule to help us : a common chord is composed of a major and a minor third placed one above another. We have now completed the tonic chord by building up over its fundamental tone as many thirds as can be put one on another. See all 4 pre-owned listings. The position of the following chords will depend upon the position of the first. Additional order info. Revision of the text material has been the principal concern of this fifth edition. As the whole of our key is developed from the upper partials or harmonics of the tonic, we have to look to our harmonic series 36 to find the next third above G. There are, in fact, only two notes, Btj and E'? The terms "major " and "minor," as applied to keys indicate the nature of the chord on the tonic. Ottman, Emeritus, University of North Texas. Book Description Condition: New. Therefore, now that we have once begun with the major Qth to employ secondary harmonics, we will continue with them. They are, however, much less objection- able when taken by contrary than by similar motion, especially if one of the parts be a middle part, and the progression be between dominant and tonic harmony. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. For example, on the piano, the nearest note to C is B on the one side below , and C on the other side above. This title is out of print. For G is the third harmonic of C, and all the harmonics of G are therefore harmonics of a harmonic of C. In the vexed question of the minor tonic chord, Helmholtz is followed to a considerable extent ; but Ouseley's explanation of the harmonic origin of the minor third is adopted. If the third next above the root of a common chord be a major third, the chord is called a major chord; if it be a minor third above the root, it will be a minor chord. He is advised to write them in what is called " short score " thac is, on two staves : the treble and alto on the upper, and the tenor and bass on the lower, staff. Advanced Harmony Theory and Practice 5th edition Reviews No Jacket. Our extract is from a Church Cantata by Bach, and it gives an illustration of the freedom of his part-writing. Seller Inventory GRP Other partwriting considerations. Such passages are called consecutive unisons and octaves. And if we take two chromatic semitones, it is equally clear that they will not make a tone ; for now the resulting notes C? Between any of the upper parts consecutive fourths are not prohibited. This will be easily seen by deriving both notes from the generator C. The Triad in Inversion. Let us turn back once more to the harmonic series given in The second inversion of a chord has the fifth in the bass. Add to Basket Used Condition: Good. Add the three upper parts in. Here we reverse the process of making the minor intervals, and we either raise the upper note, or lower the lower note, by means of an accidental. Supplemental materials are not guaranteed with any used book purchases. Connect with us to learn more. Pearson offers affordable and accessible purchase options to meet the needs of your students. CDs, access codes etc. Lastly, we stated that the 27th harmonic was only -gV too sharp for a true major 6th. Former Library book. As before we begin with the key of C. Item in good condition. We can place them at any pitch, so long as their relative positions 1 to the root are not disturbed, e. Additional order info. It will be seen that all these triads, except that upon the leading note, contain a perfect fifth from the root, and are therefore common chords. What we call low notes are produced by much slower vibrations than high notes. C C- This is the ratio usually given, and it will be found to be almost identical with the simpler ratio f J given in the text. If two parts go by similar motion to octaves or perfect fifths, such progressions are called " hidden " octaves or fifths. The bass of any second inversion may move by step of a tone, Chap.
Load more

Recommended publications
  • To Be Or Not to Be: Schenker's Versus Schenkerian Attitudes Towards
    TO BE OR NOT TO BE: SCHENKER’S VERSUS SCHENKERIAN ATTITUDES TOWARDS SEQUENCES STEPHEN SLOTTOW have several times experienced a sinking feeling upon reading the following passage from I Free Composition (from a discussion of leading and following linear progressions): “double counterpoint therefore takes its place in the ranks of such fallacious concepts as the ecclesiastical modes, sequences, and the usual explanation of consecutive fifths and octaves” (Schenker 1979, 78). Although I retain a sneaking fondness for double counterpoint, it is largely the presence of sequences in this blacklist that evokes a nostalgic sense of loss. Schenker was contemptuous towards piecemeal analyses that merely identified different kinds of isolated entities in the music, like landmarks highlighted on a map. In a section of Free Composition entitled “Rejection of the conventional terms ‘melody,’ ‘motive,’ ‘idea,’ and the like,” he writes: Great composers trust their long-range vision. For this reason they do not base their compositions upon some ‘melody,’ ‘motive,’ or ‘idea.’ Rather, the content is rooted in the voice-leading transformations and linear progressions whose unity allows no segmentation or names of segments. (26) And, in the next paragraph: One cannot speak of ‘melody’ and ‘idea’ in the work of the masters; it makes even less sense to speak of ‘passage,’ ‘sequence,’ ‘padding,’ or ‘cement’ as if they were terms that one could possibly apply to art. Drawing a comparison to language, what is there in a logically constructed sentence that one could call ‘cement’?” (27) GAMUT 8/1 (2018) 72 © UNIVERSITY OF TENNESSEE PRESS, ALL RIGHTS RESERVED. ISSN: 1938-6690 SLOTTOW: SCHENKER’S ATTITUDES TOWARDS SEQUENCES As Matthew Brown points out, “whereas Fux avoided sequences, Schenker was openly hostile to them.
    [Show full text]
  • Evolution of Modern Harmony
    1 f<?f 4 4 L" * * * v 4 4- +- UNIVERSITY OF ILLINOIS. LIBRARY * * 4 * v \ . if Class Book Volume * # £ Mr 10-20 M f f * + * * * # ^ 4 - * * * * * * * 5 3/r " + * * ^* ^ f + 4- 4 . f * + ^ * * + * - • f . * * '\^^K^!'j^m^i 4* - if* t If, 4 4- ' 4 4 :. ->^t T f + 4 -r 4. + # +. 4 4 r 4 * 4 # * if yr 4 1 - "r v- ^ • ' P" 4 4 4 ^ 4 4 4 4 4 + ^ ^ 4 * ' 4 4 4 i 4 i + 4 4- s - 4 4 4 :f # * + 4 4 t 4 ^ + 4 I I m 4 4 "**- 4 -#* *»* 4 4 1 ¥ ' N^ni -* > ; -J* 4 life"- 4 " - . ---> *~ . m w 4 4 4 . 4- 4" w 4 4- r -4 4"-: ' f 4 * # * * 4 ' f 4 ^^1/^1 * i| H i * * * 4 4 , 4 . 4'" > - 4 4 Or-' 1 4 -- 1 J 1 ! * ! K * ± 4 4 jSwf^ ^m fS /; ^ f / 4, "I 4 4 if- -aJH« 4 4 41 4 4 fc ' ••# * 4' 4 4 "4 4^ - - 1 -,*f\ - 4 4^ 4 4 • =4-" 4 * * 4- * ijji 4 4 # 4- 4 4 4 ^4 * . 4 -yt 4 * 4 * 4 + 1 4* •* 1 4 ^ II -.f^ m m | -4- 4 «# 4 ^ 4 4 * * * * 1K * * : 4*; --^ " - ^jL 4 4 re * 4 * * |fe i || 4 I # 4: f f 4 * |i * * I |p || p 4 4 4 i •* - ' t # f * 4 4 4 * 4 4 4 p 4 4 4 + 4-4444 4 f 4 4 " ; ^ 4 4 4 4 ^ || j| m 4- ^ ^ . 4 4 r 4 ^ t * 4? +• + ^ * 4 4 1 -4 ^ + I i II 4 I I + * 4-.
    [Show full text]
  • New Composition Notes Harmony Sept Year 6 2020
    Music Dr. Susan McCormick Leaving Certificate Higher Level 2020 - 2021 Composition: Harmony CONTENTS Composition Paper Layout p. 1 Question 5 Harmony p. 2 Harmony in a Major Key pp. 3–15 Chord Chart pp. 3–4 Cadences and good chord progressions p. 5 Steps to follow p. 6 Cadence points and essential notes p. 7 How to choose chords p. 8 Chord progressions: Important points p. 9 Bass line p. 10 Detailed steps to follow p. 11 Sample answer approach pp. 12–15 Harmony in a Minor Key pp. 16–23 Chord Chart pp. 17–18 Cadences and good chord progressions p. 19 Bass line p. 20 Sample answer approach pp. 21–23 Student Notes p. 24 © Dr. Susan McCormick. Music. 6th Year. 2020-2021. Composition Paper Layout (paper 2) 100 marks There are 6 questions on the Composition Paper. You are required to complete 2 of the 6 questions: 1 melody question and 1 harmony question These notes will focus on Q.1 and touch on Q.2. The harmony question will be discussed in detail in a separate handout • Q.1 Melody (40 marks) – 16 Bar melody – Modulation – Dynamics, articulation, phrase marks – Pick an instrument • Q.5 Harmony (60 marks) – Add chords to given melody (must form a good progression) – Compose a bass line • (Q.2 Melody: Setting music to a given text) You will be given 1.5 hours to complete the two questions. I would recommend spending approximately 30 minutes on the melody question and 50 minutes on the harmony question; this will leave you 10 minutes at the end to check over everything.
    [Show full text]
  • Mazzola's Counterpoint Theory
    Mazzola’s Counterpoint Theory Dmitri Tymoczko 310 Woolworth Center, Princeton University, Princeton, NJ 08544. Abstract: This paper critiques Guerino Mazzola’s derivation of traditional counterpoint rules, arguing that those rules are not well-modeled by pitch-class intervals; that Mazzola’s differential treatment of fifths and octaves is not supported musically or by traditional counterpoint texts; that Mazzola’s specific calculations are not reproducible; that there are a number of intuitive considerations weighing against Mazzola’s explanation; that the fit between theory and evidence is not good; and that Mazzola’s statistical arguments are flawed. This leads to some general methodological reflections on different approaches to mathematical music theory, as well as to an alternative model of 2 first-species counterpoint featuring the orbifold T /S2. Keywords: counterpoint, Guerino Mazzola, Fux, Palestrina, parallel fifths, antiparallel fifths, orbifolds, methodology of mathematical music theory. 1 Introduction For an American music theorist, Guerino Mazzola’s The Topos of Music (henceforth Topos) can be a forbidding book: dense, intricately systematic, and more complex in its mathematics than the writings of Allen Forte, John Clough, or David Lewin. And where American theorists can be somewhat apologetic in their invocations of advanced mathematics, offering simplified tutorials for untrained readers, Mazzola can seem almost aristocratic in his disdain for nonmathematicians. If you can’t learn algebraic geometry, he sometimes seems to be saying, then you have no business trying to understand Mozart. Confronted with this attitude, some theorists might feel tempted to dismiss Topos as a mathematical fantasy with no real-world relevance. But to do so is to ignore the fact that Mazzola makes claims of the utmost centrality to music theory.
    [Show full text]
  • Vol. 16, No. 1 March 2009
    Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May Song • Dream Children • Coronation Ode • Weary Wind of the West • Skizze • Offertoire • The Apostles • In The South (Alas- sio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • HowElgar Calmly Society the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No.2 •ournal O Hearken Thou • Coronation March • Crown of India • Great is the Lord • Cantique • The Music Makers • Falstaff • Carissima • Sospiri • The Birthright • The Windlass • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • The Spirit of England • The Fringes of the Fleet • The Sanguine Fan • Violin Sonata in E minor • String Quartet in E minor • Piano Quintet in A minor • Cello Concerto in E minor • King Arthur • The Wanderer • Empire March • The Herald • Beau Brummel • Severn Suite • Solilo- quy • Nursery Suite • Adieu • Organ Sonata • Mina • The Spanish Lady • Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pas- tourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Amour • Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • The Snow • Fly, Singing Bird • From the Bavarian Highlands • The Light of Life • King Olaf • ImperialMARCH March 2009 Vol. • The16, No. Banner 1 of St George • Te Deum and Benedictus • Caractacus • Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Ma- tin • Three Characteristic Pieces • The Dream of Gerontius • Ser- enade Lyrique • Pomp and Circumstance • The Elgar Society The Elgar Society Journal 362 Leymoor Road, Golcar, Huddersfield, HD7 4QF Telephone: 01484 649108 Founded 1951 Email: [email protected] March 2009 Vol.
    [Show full text]
  • 1002603893-Jenkins.Pdf
    3-19 1Va. 2 33 A COMPARATIVE STUDY OF THE HARMONIC EQUIPMENT AND FORMAL FEATURES IN THE STRING QUARTETS BY CLAUDE DEBUSSY AND MAURICE RAVEL THESIS Presented to the Graduate Council of the North Texas State Collese in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 211824 Robert E. Jenkins, B. Mus. Fort Worth, Texas August, 1952 29.3.24 TABLE OF CONTENTS I Page LIST OF TAILES ... .*. .# iv LIST OF ILLUSTRATIONS . .. vi Chapter I. INTRODUCTION: OBJECTIVES AND PROCEDURE . 1 II. THE INFLUENCE OF PREDECESSORS AND CONTEMPORARIES ON THE WORKS OF DEBUSSY AND RAVEL . .. 4 The Rise of Impressionism in France Influence of Predecessors and Contemporaries on Debussy Influence of Predecessors and Contemporaries on Ravel Counter Influences of Debussy and Ravel III. HARMONIC ANALYSIS AND COMPARATIVE STUDY OF THE DEBUSSY AND RAVEL QUARTETS . 31 Analysis of the Debussy String quartet Harmonic equipment: structure and function Formal features Analysis of the Ravel String Quartet Harmonic equipment: structure and function Formal features Summary and Comparison of the Debussy and Ravel Quartets IV. CONCLUSIONS . 86 BIBLIOGRAPHY .,.$ ... ... ... 88 iii LIST OF TABLES Table Page 1. Harmonic Material in the Debussy juart . 31 2. Seventh Chords . 32 3. Inversions of Seventh Chords . 33 . * .. * .. .. .. .. 4* Triads # 35 5. Inversions of Triads . ...... .. 35 6. Ninth Chords. 38 7. Inversions of Dominant Ninth Chords . 38 8. Tonal Centers in First Movement of Debussy Quartet . ... .. 47 9. Tonal Centers in Second Movement of Debussy Quartet . .-. 50 10. Tonal Centers in Third Movement of Debussy Quartet . .a... .. .# . 53 11. Tonal Centers in Fourth Movement of Debussy uart#t .
    [Show full text]
  • Glossary of Terms Used in Music Analysis
    Glossary of terms used in music analysis Accidental - a sharp, flat or natural found within a bar of music (not in the key signature). Aeolian mode - an ancient scale that is identical to the natural minor scale. See mode. Alberti bass - a broken chord accompaniment style particularly associated with Domenico Alberti (c.1710-1746) and subsequently used by many composers in the Classical period. The typical pattern is C-G-E-G. Alto - the lower voice of the treble stave. Ambient minimalism - a style of music that is calm and meditative, with frequent repetition of a small number of musical ideas, emphasising atmosphere over formal structure. Appoggiatura - a note that does not belong to the prevailing harmony (chord), and which moves by step (usually downwards) to a chord note. For example, in a C major triad, F could be an appoggiatura (resolving to E). The term comes from an Italian word meaning “leaning”. Appoggiaturas are always played or sung with more emphasis than the note of resolution, and they make the music more expressive. In the Baroque and Classical periods, appoggiaturas were often written as grace notes. Atonality - the absence of any recognisable key or tonal centre. In an atonal composition, all pitches are theoretically of equal importance, so there is no tonic. Augmentation - to make larger, generally referring to rhythmic values. Hence, an augmentation of q. e q q would be h. q h h Augmented 2nd - two successive scale steps that are three semitones apart, e.g. F to G . Augmented sixth chord - a chromatic chord (i.e.
    [Show full text]
  • Harmony Simplified : Or, the Theory of the Tonal Functions of Chords
    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE MUSIC rn n ' Ver8i,y "**" MT 50.R55 i896 3 1924 022 305 357 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022305357 ATJGENER'S EDITION No. 9198 HARMONY SIMPLIFIED OR THE THEORY OF THE TONAL FUNCTIONS OF CHORDS. BV DR. HUGO RIEMANN, Professor of Musical Science at Leipzig University TRANSLATED FROM THE GERMAN. THIRD IMPRESSION AUGENER LTD. LONDON Printed in England by AUGENER Ltd., 287 Acton Lane, London, W. 4. ©e&tcatefc TO PROFESSOR EBENEZER PROUT. B.A., Professor of Music in the University of Dublin, etc. THE DISTINGUISHED PIONEER OF MUSICAL PROGRESS. THE AUTHOR —— $ — CONTENTS. Introduction page i. (Harmony—Melody —Tone relationship — Overtones — Undertones — Majoi chord and minor chord—The three functions—Modulation.) CHAPTER I. Writing Confined to Pure Principal Harmonies (Tonic and Dominants) page 10. § I. Overclangs and Underclangs. §2. Four-part writing—The writing of single chords. §3. Plain-fifth step (T—D and °T—° S)—The con- nection of chords—Consecutive octaves—Chords of six-four (-Z?Jand S\i)- §4. Contra-fifth step (T—S and "T—°D)—Complete (bi-lateral) cadences. § 5. The whole-tone step (S—D and °D—°S)—Consecu- + tive fifths tritone— Score. 6. turn —"J? —The § The of harmony ( T and + + + °T— D)—Contra-fifth change {°S—Z> ) and fifth-change (°S — S + and "D— -D)—Diminished and augmented part-progressions—False relation —Modulation.
    [Show full text]
  • The Classical Indian Just Intonation Tuning System
    The Classical Indian Just Intonation Tuning System with 22 SRUTI-s defining the 7 SWARA-s of Hindu Classical Music combining the three different kinds of SRUTI which are understood as PRAMANA ("measuring" or "standard") SRUTI = Syntonic Comma (81/80) = 21.5 cents NYUNA ("deficient") SRUTI = Minor Chroma (25/24) = 70.7 cents Wolfgang von Schweinitz October 20 - 22, 2006 PURNA ("fullfilling") SRUTI = Pythagorean Limma (256/243) = 90.2 cents (where PURNA SRUTI may also, enharmonically, be interpreted as the sum of PRAMANA SRUTI and NYUNA SRUTI = Major Chroma (135/128 = 81/80 * 25/24) = 92.2 cents) purna nyuna purna nyuna purna nyuna purna purna pramana pramana pramana pramana pramana pramana pramana pramana pramana pramana nyuna purna nyuna purna nyuna nyuna # # # # # # " ! # " # # ! # # # <e e f m n >m n # # # # # f # n t e u f m n # # ! # # # <e e# f# m# n# e f m n >m ! n" t <f e u f m n # # # # # # " ! # " # # ! # # # <e e f m n >m n ! # # # # # f # n t e u f m n # # ! # # # <e e# f# m# n# n o u v >u n " t <f e u f m n # # " ! ! # # ! # # # <n n# o# u# v# >u n # # # # f # # n" t e u f m n # # # ! # # # <e e # f # m# n# n o u v >u n " t <f e u f m n 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 # # ! # # ! <e e# f# m# n# >m n " # # f n" t e# u f# m# n# $ # ! <e e# f# m# n# n# o# u# v# >u n " t <f e#u f# m# n# Sa ri ri Ri Ri ga ga Ga Ga ma ma Ma Ma Pa dha dha Dha Dha ni ni Ni Ni Sa 1 25 21 256 135 16 10 9 7 32 6 5 81 4 27 45 64 729 10 3 25 128 405 8 5 27 7 16 9 15 243 40 2 Ratio 1 24 20 243 128 15 9 8 6 27 5 4 64 3 20 32 45
    [Show full text]
  • Counterpoint: Strict and Free
    ....' 111 l« H:;v^,',:-;;-''.:,?. CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY r/ILLIAMS SAGE rn IVW,,,y "*"* MT 55.P97 i890 nt: s,rict and free Smm ™Ri i 3 1924 021 789 650 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021789650 : AUGENER'S EDITION, No. 918S. COUNTERPOINT: STRICT AND FREE. BY EBENEZER PROUT, B.A. Lond. (Professor of Harmony and Composition at the Royal Academy of Music), Author of "Harmony : Its Theory and Practice," etc. THIRD EDITION. PIANO ft MUSIC DEPfirJ. W. BRUNT & SONS, DRAWBRIDGE, BRISTOL.. LONDON ATJGENER & CO. {entered at stationers' hall.] Copyright for all Countries.] [Rights of Translation Reserved. " PREFACE. The present volume is the partial fulfilment of the promise made in the preface to Harmony : Its Theory and Practice, to follow that work by a treatise on practical composition. The author's first intention was to write a book on this subject, as a companion to his Harmony ; but as soon as he began to think the matter seriously over, it became apparent that it was quite impossible, within the limits of a single volume, to treat so extensive a subject except in the most superficial manner. Holding firmly to the opinion that whatever is worth doing at all is worth doing thoroughly, he thereupon modified and enlarged his original plan, and resolved (should life and health be spared) to prepare a complete series of treatises on composition, which should embrace all the different branches of that art.
    [Show full text]
  • Fourth-Species Counterpoint Grading Guidelines 3-Point Mistakes
    Fourth-Species Counterpoint Grading Guidelines 3-point mistakes: • parallel and “antiparallel” (also known as “contrary” or “consecutive”) fifths, both on the note-to-note level and on successive strong beats • parallel and “antiparallel” (also known as “contrary” or “consecutive”) octaves, both on the note-to-note level and on successive strong beats • parallel octaves and fifths that are offset by inadvisable suspensions (for instance, 9-8 9-8 in the upper voice or 4-5 4-5 in the bass) 2-point mistakes: • use of a harmonic dissonance that does not resemble a suspension (e.g., there is a leap to or from the dissonant note); a passing tone is acceptable (although not generally advisable) if it is necessary to “break the species” and use second- species counterpoint very briefly • direct fifth or octave (i.e., similar motion into P5 or P8) if the upper voice leaps 1-point mistakes: • failed suspension (a harmonic dissonance that resembles a suspension but something is wrong — e.g., the attempted suspension steps down to another dissonance) • missing suspension at the beginning of the exercise (i.e., simultaneous with the second cantus firmus note) • missing suspension at the end of the exercise (i.e., simultaneous with the penultimate cantus firmus note) • more than three identical suspension types in a row (e.g., 4-3, 4-3, 4-3) • illegal melodic leap (e.g., 7th, 9th, anything augmented or diminished except for 3ˆ down to ­7ˆ in a minor key, etc.) • consecutive leaps not involving 1ˆ, 3ˆ, and 5 ˆ: two leaps = -1, three leaps = -2, etc.
    [Show full text]
  • Common Part-Writing Errors !
    MUT 1111: Basic Theory I Prof. Nancy Rogers EXAMPLES OF COMMON PART-WRITING ERRORS ! a. bad b. bad c. bad d. bad e. good & & % % % % % % % % % $" $$% $% $$%$$% $$% $$% $$% $%$$$% $%$$ % % % % % % % % & % % % % % % $# &$$$% $$%$$% $$$$% $$$%$$$$%$$ a.! Parallel fifths between the bass and tenor. b.! Consecutive fifths (also known as “antiparallel” fifths) between the bass and tenor. c.! Leading-tone in soprano not resolved. Also causes direct fifth between outer voices. d.! Improperly incomplete chord — tonic triad has no third. e.! Good solution. Notice the smooth voice-leading in all upper voices. Also notice that doubling the root doesn’t usually require any special effort. Common Part-Writing Errors Page 2 f. good g. good h. bad i. bad j. good ' % % % % % % % % % % $" $$$$$$$% $$$$$$% $%$$$% $% $$%$ % % % % % % % % ' % % % % % % % % $# $$$% $$$$% $$$$% $$$%$$$$$$%$ f.! Tripled root in tonic triad is not unusual in a situation like this. It is generally acceptable to omit the fifth from a root-position triad as long as there is a good reason (in this case, the chance to resolve the alto’s leading-tone). g.! Unresolved leading-tone is acceptable as long as it is in an inner voice and there is some good reason not to resolve it (in this case, the desire for a complete triad). h.! Improperly incomplete chord — tonic triad has no third. i.! Leading-tone in soprano not resolved. Also causes direct fifth between outer voices. j.! Good solution. Leading-tone in soprano does eventually resolve. It would be impossible to resolve sooner because the dominant is repeated. Common Part-Writing Errors Page 3 k. bad l. acceptable m. good n. not good o. not good p. good ' ' ' '' % % % % % % % % % % % % $" $$$% $%$$%$$% $$% $$% $$% $%$$%$$% $$%$$%$ % % % % % % % % % % % % % ' '' % % % % % % $# $' '$$$$$$$$$$$$$$$$$$$$$$%$ k.! Voice crossing in tenor and alto.
    [Show full text]