Counterpoint: A Practical Course of Study |
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Page 7
... belong to two or to all three of the scales are marked by as many of these syllables . D Grave octave . be Tut A re B mi C fa , ut D sol , re E la , mi F fa , ut G sol , re , ut a la , mi , re bb fa tb mi Acute octave . Super - acute ...
... belong to two or to all three of the scales are marked by as many of these syllables . D Grave octave . be Tut A re B mi C fa , ut D sol , re E la , mi F fa , ut G sol , re , ut a la , mi , re bb fa tb mi Acute octave . Super - acute ...
Page 8
... belong only to the key of bB , and the 7th note has an effect of strangership in any key . CHAPTER IV . PROGRESSION OF PARTS . ( a ) 28. THE rules for melodic progression here given have countless exceptions in the modern , free , or ...
... belong only to the key of bB , and the 7th note has an effect of strangership in any key . CHAPTER IV . PROGRESSION OF PARTS . ( a ) 28. THE rules for melodic progression here given have countless exceptions in the modern , free , or ...
Page 15
... belong to the same key . When one part is in one key and another part is in another key , there is false relation between them . 60. False relation of the 1st or 8th is when a or , or b note is in one part , and another note of the same ...
... belong to the same key . When one part is in one key and another part is in another key , there is false relation between them . 60. False relation of the 1st or 8th is when a or , or b note is in one part , and another note of the same ...
Page 51
... belong to the same harmony . S This is best , because the suspended discord and its resolution have more point and consequent ( a ) S interest than the foregoing example ; 6 and the C , being foreign to the harmony , defines , not ...
... belong to the same harmony . S This is best , because the suspended discord and its resolution have more point and consequent ( a ) S interest than the foregoing example ; 6 and the C , being foreign to the harmony , defines , not ...
Page 62
... belong to the sustained chord . Bad . Good . * ! 8 243. Good effect is made by a note taken in arpeggio in one part , against a passing - note in another part ; but then the passing - note must be concordant with the note attacked ...
... belong to the sustained chord . Bad . Good . * ! 8 243. Good effect is made by a note taken in arpeggio in one part , against a passing - note in another part ; but then the passing - note must be concordant with the note attacked ...
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Common terms and phrases
17 Paternoster Row accent appoggiatura approached by leap arpeggio augmented bass note bass-note Cambridge Warehouse chromatic chromatic scale cloth combination common chord concord contrapuntal contrary motion crotchet Demy Octavo diminished 5th dominant Double Counterpoint Edited effect elemental note English Notes Fellow of St Fellow of Trinity Fifth Species figure forms of Cadence free style full close Greek harmony inverted root key-note late Fellow leading-note M. T. CICERONIS major 3rd major form mediant melody minor form minor key models of Exercises modern modes moving-notes note of resolution passing-note perfect 5th perfect interval proceed Professor progression resolved second inversion Second Species semibreves similar motion sounded Species of Counterpoint Species Sects St Catharine's College St John's College student subdominant Subject submediant supertonic suspended 4th suspended discord syncopation tetrachord Third Species three-part Counterpoint tonic triad Trinity College Triple Counterpoint two-part Counterpoint undesirable University of Cambridge upper written
Popular passages
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