Counterpoint Applied in the Invention, Fugue, Canon And Other Polyphonic Forms; An Exhaustive Treatise On the Structural And Formal Details of the Polyphonic Or Contrapuntal Forms of Music, for the Use of General And Special Students of Music
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In our eReader you can find the full English version of the book. Read Counterpoint Applied in the Invention, Fugue, Canon And Other Polyphonic Forms; An Exhaustive Treatise On the Structural And Formal Details of the Polyphonic Or Contrapuntal Forms of Music, for the Use of General And Special Students of Music 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 Counterpoint Applied in the Invention, Fugue, Canon And Other Polyphonic Forms; An Exhaustive Treatise On the Structural And Formal Details of the Polyphonic Or Contrapuntal Forms of Music, for the Use of General And Special Students of Music
What reading level is Counterpoint Applied in the Invention, Fugue, Canon And Other Polyphonic Forms; An Exhaustive Treatise On the Structural And Formal Details of the Polyphonic Or Contrapuntal Forms of Music, for the Use of General And Special Students of Music book?
To quickly assess the difficulty of the text, read a short excerpt:
, M.
a*— (Slj *■ ^-p ■*- , etc.
f— 11 fe=b ¥=^^^= — -— =ti •1) Motive in Soprano; Alto and Tenor tacent; Bass auxiliary.
•2) Unessential modification of the M., corresponding to par. 33 — (1), which e. This form recurs frequently, later on.
170 APPLIED COUNTERPOINT. Par. 78.
*3) Thus far the order of Imitation is regular, as concerns the part-succession, — Soprano, Alto, Tenor. In the following measure the M. appears again in the Alto, and during the next 3 (sketched) measures two other announc...ements are made, in upper parts, before the Bass announces its legitimate Imitation, in the 9th measure.
*4) Observe, here again, how carefully the inner parts are restrained in their rhythmic movement, by long notes, while the outer parts are active. The same disposition to preserve good balance of motion and to avoid " jumbled " rhythmic effects is evinced throughout. See Ex. 120, Note *I2), second clause.
*S) From the Prelude of the " Preludio con Fughetta " in d minor, for the clavichord (Peters ed., 200, No.
What to read after Counterpoint Applied in the Invention, Fugue, Canon And Other Polyphonic Forms; An Exhaustive Treatise On the Structural And Formal Details of the Polyphonic Or Contrapuntal Forms of Music, for the Use of General And Special Students of Music?
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To quickly assess the difficulty of the text, read a short excerpt:
, M.
a*— (Slj *■ ^-p ■*- , etc.
f— 11 fe=b ¥=^^^= — -— =ti •1) Motive in Soprano; Alto and Tenor tacent; Bass auxiliary.
•2) Unessential modification of the M., corresponding to par. 33 — (1), which e. This form recurs frequently, later on.
170 APPLIED COUNTERPOINT. Par. 78.
*3) Thus far the order of Imitation is regular, as concerns the part-succession, — Soprano, Alto, Tenor. In the following measure the M. appears again in the Alto, and during the next 3 (sketched) measures two other announc...ements are made, in upper parts, before the Bass announces its legitimate Imitation, in the 9th measure.
*4) Observe, here again, how carefully the inner parts are restrained in their rhythmic movement, by long notes, while the outer parts are active. The same disposition to preserve good balance of motion and to avoid " jumbled " rhythmic effects is evinced throughout. See Ex. 120, Note *I2), second clause.
*S) From the Prelude of the " Preludio con Fughetta " in d minor, for the clavichord (Peters ed., 200, No.
What to read after Counterpoint Applied in the Invention, Fugue, Canon And Other Polyphonic Forms; An Exhaustive Treatise On the Structural And Formal Details of the Polyphonic Or Contrapuntal Forms of Music, for the Use of General And Special Students of Music?
You can find similar books in the "Read Also" column, or choose other free books by Goetschius, Percy, 1853-1943 to read onlineMoreLess
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