Tonal Counterpoint Studies in Part Writing
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In our eReader you can find the full English version of the book. Read Tonal Counterpoint Studies in Part Writing Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Tonal Counterpoint Studies in Part Writing
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To quickly assess the difficulty of the text, read a short excerpt:
Attention is called to the rest with which counterpoint of this order should generally begin. The note following the rest must be a concord.
§66. The best forms of cadence are the following: Of the above examples, (a) and (b) are less usual than the others, though perfectly possible; the former with the skip of a diminished fifth, and the latter with a changing note, (c) is also a rather rare form. In this case the f in modem music would generally be sharped, as explained above.
The student wil...l be tempted to use the following forms of cadence. He will readily see upon analysis why they are not permissible.
^^TfTf Two-Part Counterpoint lOI A few examples are now worked out for practical guidance.
If the leading principles explained above have been under- stood, this kind of counterpoint will be not only easier, but far more interesting than the others. At first very short subjects are taken and no modulation is required.
mi — 3 — — =!
e ^ — |0 B- PB ¥*" 1 — IS.
rfr p 1" b 6j o 5 s ^i4^:!
What to read after Tonal Counterpoint Studies in Part Writing?
You can find similar books in the "Read Also" column, or choose other free books by Walter Raymond Spalding to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Attention is called to the rest with which counterpoint of this order should generally begin. The note following the rest must be a concord.
§66. The best forms of cadence are the following: Of the above examples, (a) and (b) are less usual than the others, though perfectly possible; the former with the skip of a diminished fifth, and the latter with a changing note, (c) is also a rather rare form. In this case the f in modem music would generally be sharped, as explained above.
The student wil...l be tempted to use the following forms of cadence. He will readily see upon analysis why they are not permissible.
^^TfTf Two-Part Counterpoint lOI A few examples are now worked out for practical guidance.
If the leading principles explained above have been under- stood, this kind of counterpoint will be not only easier, but far more interesting than the others. At first very short subjects are taken and no modulation is required.
mi — 3 — — =!
e ^ — |0 B- PB ¥*" 1 — IS.
rfr p 1" b 6j o 5 s ^i4^:!
What to read after Tonal Counterpoint Studies in Part Writing?
You can find similar books in the "Read Also" column, or choose other free books by Walter Raymond Spalding to read onlineMoreLess
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