Musical Grammar, in Four Parts
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387. The whole second chapter of this part relates to the dominant seventh, particularly Art. 317, where the difference between the added and the transient seventh is sho^wn. The third section treats of its resdlution; which term is equally (Art. 317,) for the purpose of showing the difference between prepared and unprepared discords.
* Hecli; places them together ; and Heck was well versed in the musical lit- erature of Germany.
t The discords of addition, although implied in the writings of M...otley, Simp- Bon, Fepusch, &c., were not fully established until Mr. Holden's Essay appeared, in m6. The term addition is now adopted in Fianee by M. Langle, (1801.) but in a less ext
What to read after Musical Grammar, in Four Parts?
You can find similar books in the "Read Also" column, or choose other free books by Callcott, John Wall, 1766-1821 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
387. The whole second chapter of this part relates to the dominant seventh, particularly Art. 317, where the difference between the added and the transient seventh is sho^wn. The third section treats of its resdlution; which term is equally (Art. 317,) for the purpose of showing the difference between prepared and unprepared discords.
* Hecli; places them together ; and Heck was well versed in the musical lit- erature of Germany.
t The discords of addition, although implied in the writings of M...otley, Simp- Bon, Fepusch, &c., were not fully established until Mr. Holden's Essay appeared, in m6. The term addition is now adopted in Fianee by M. Langle, (1801.) but in a less ext
What to read after Musical Grammar, in Four Parts?
You can find similar books in the "Read Also" column, or choose other free books by Callcott, John Wall, 1766-1821 to read onlineMoreLess
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