LIVRESMacfarren, George Alexander
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r. 21 niiiltons abridged from t. cooke's celebrated a chord of the 7th. a chromatu " ah si per voi," vivace marziale. aim dii80nant 5th on tbji aiodula'j.'ion. * aj)11fi11rjix k * a)jp8ildb m. albrechtsberger al'l'endix. (allowing chord ' - a major 'lnd, and ~ amra derived from an augmonted 5th, and and 7th oil' tlib and are, in and fob and is, therefore, chromatic. and ith on the subdoliinant. and nollet. andresolved:- and the bass and and thu- an essentldl portion; thus-no~ an, inle,..i, another another lwoe. another root : - another root : (, anticipation oc intervals .*. apllendix. , apmu " appcndls o. * appedda du. * appeddi~ !<;j!o. , appeddij u appediuz h. * appelldix m. appendil * appendix ~ ap pen dix. appendix, appendix. appendix.. * appendix 1". * appendix b. * appendix bu. * appendix cc. appendix l. * appendix m. * appendix p. * appenm .j. appoggiaturas approached by 8lmilar motion:- * aprendix n. arbitrary minor scale. arc perfect 5th8; and are perfect 4ths. * arpen sixth . auspe~sion8. available as a concord, the first avm. bad,. bad. bad* balm bat rarely employed : - bears a diminished 5th becall!8, be bee appendix w. be employed :- being being a major 5th, be omitted:- berwick street, w. be studied. between the two : - .. bid me discourse" (bishop) ... blagrove, r. concertina tutor bli- bms) in an nnder part; both the major and minor key. both tm major and minor key. burrowes. but is avoicled in these : - but may be, by leap upwaro., by a 8upertonic discord :-* by degrees (chap. iv. sect. 8).* by franklin by franklin taylor. ~cales. callcott, dr. twenty-four preludes cau.xl cbapl'eb cbapl'er cbaprbb xlil cbonl,' cha/'. l. changes:- changes: i (chap. chap. chap'fer xiv. . . (chap. iii. sect. 12):- (chap. ill. toct. 12). (chap. i. sect. 16.) (chap. iv. sect. 3). chapl'eb chapl'eb xi. chapl'er chapt1i:r chaptd chapteb chapter ch a pter i. chapter ii. chapter iv. chapter ix. chapter vii. chapter viii. chapter viii. section 7. chapter viii. section 8. chapter viil section 6. chapter x. chapter xi. chapter xii. chapter xiii. chapter xv. chaptu chapur (chap. vm sect. 15) : - (chap. xii. sect. 6). chap. xl chap. xll char. xv (chnp. xiii. cholws 010' chord chord : - chord;', , chord.~' chord,'! il4 ~ chord of th1!. eleve".n'l.'h. chord of the 11 th ** chord of the 7th. chord of the elevente chord or the 7th. chords of l'he dl~sonant fiftli. chords of the chords of the 13th chords of the 7th .. chords of the augmented 6th chords of the augmented bla i.'h. chords of the dimonadt lith chords of the dissonant fifl'h. chords of the nin'l'h. chords of the ninth chords of the ninth. chords of the ninth.. chords of the seventh. chords of the thffiteentr. chords of the thirteenta chords of the thirteenth. chords of the thirtunth. chromatic concords. chromatic scale chromatic scale. chromatic semitone :-* chromatio scale in the key of c. chromatlo scal6 ciiapteh ciiord of the eleventh. cilap'l'bb vi. 'l'o s.ctloh 5. cilap'l'bb xi. cila.pteb cilopl tilal.m:ug, cilu'teb cilu'teb xl ciw'.ia. ciw>. xiv. cjlaptbr cjlapteb cju.ptbb cliapreb cliohd8 of 'file seventh. clip. xl cllu'teb cloth cover, cluj'. clupnb clupter clu.ptj:b clwrd. cnohds o~ th~ sevektn. cokcuhds akd 'l'h.i!.:lr inversions. common chords in the major common chords in the major key compass extelld~ to the twelfth compass of an octave compass to a ninth compass to a tenth conclusion. concords and 'rheib inveb8ion8. concotids axu 'l11eiu 1n veru;jo~s condition as the 5th: thua,1"!j construc'f others of hib own. content~ contents of part i. contents of part ii. contents of part iii. contents of part iv. continuance. co)()[on chords in tue minor counterpoint. counterpomt is simple, cra!'. cramer's cramer's vocal school. crap. crli. cslai'. cuapreb cuapru xill. cun. vl cup. vil cur. yin. czer~y, d&1.- -harrunn ti co. definitions. (defin. sect. 12.) de ?icol.>-qe." derived from another root des! diatonic itgk, tim diatonic scale dift"eren. pari in direction; discord:- discord. discords- discretion :- ditto. in two volumes, limp cloth dlmjiitiol(8 dole, domidant7th:- double _ double suiponsions downwards or upwards ,- dummrnt. dur.n each each 48. each 4s.; complete each nett eachpartmovesbythesamenumberofdegreea-~~ e.-chap. educational* jvorks, continued .. educational works. ed with the 11th. * . eeolution. ei irt41-j either rise * 2nd, or rail * elf! pr employed:- employed as a passing-note :-* ena'. iv eulanatiok.-the figures ex..1illc~l~. example crom rossini example from spohr exbroise8 except, btly, the 8th of exceptional exceptional prooression. except .itb., nol. of exerci8~, exercise in e minor exercise on intervals exercise on portamento ... exercises and studies exercises on the same explanation.-a explanation.-the figures explanation.-the figures * explanation.-when expluatlo**-the figures f 1 j i:; :;4-ele ~fb) r r~ fj~~~ inajwirl1f$-'-.~~ fea i fhrr l ~lt5,qin~~i~~zf ~ fibw ~d fie* fir; fir: f' i @fir j ji;~jlr first inversion of a concord:. fjeptrh: j flbition. f'lr their treatment be observed. for early instruction in for schools and class teaching, for the for the development of the four notes to one syllable franklin from from the rule:- from which they proceeded- "-fsj'ij';1 fuj' g. a. macfarren. general remarks ... give~ greatest .omposers. harmonic progreuion-concords .. .. harmony (chap. xi. 8e('t. 11 ).* haym** spohn, handel,' rossi:"!i, and wallac&. hct.j henry parker on the voioe: he resolved upon another note. ~~he singl(\ ~'he supertonio l\{mor 9th. h~% bounded not retained as a not thus nto discords (definitiona, ~+--ntttel j ttl j wi ;:n:~y ~ :~hromatic oaration, but in the major key only. obap1'eb obhq1ia motion to an 8th, odc. of a fundamental 9th (chap. xl. sect. 15). t of another chord; of a p.hord of of ernst friediuch ofpart& of pedala. often of terma not explained elsewhere of the chord of the dominant 7th : - of the following chord :-. of the key. of'the kqv.not.e:* .4.1)~n~ m. of the seventh. ohal'teb (ohap. iv. sect. 17). this passage- ohapter .' ii. ohapter vl "oh, had i jubal's lyrl!" (handel) ohordintervening-~:=" ohord of'rhe eleventh. ohords of 'l'he ninth. ohorljs of the augmented ~oiceggio in e minor oilal"l'bb ix. section 5* oilap. oilapt~b oilaptbb oiv. oiw"!'jib xl oiw'. xl. ojuptbb xiii. olu.prbb on the 3rd of the major key is ~* ooing ,,!,nect5th. oomplete oral ~v. oramer's orap. or a tone:- or else upon a note or fall a chromatic semitone:- or faua 2nd:- or it may fall a 2nd, or upon a supertonic discord.* or upon a tonic discord. or weaker part of the bar :- oth~& other:i ,.ounded together by several parts. ovn. p1'ice 4s. pal:ising no'!'e8. pao. pa.per cover, pared and resolved : - part parts may not proceed by passages or divisions * passing-note :-* passing notes. pbogaa.ivb ~.bci8bi .. pbooreb81vb exeroises. pedalm. pedals pedals. peljals. perfect. perfect. t pholil:e8::iiox 01<' paul's pianoforte. pianoforte course, p,-ice 2s. pij ffi ., "ggl p"'jilniiive eun;~ plltl~age and solceggio pltog~l vi: exeb(,is~. plwglu!s8lye exercises. poogression of pauts.* position or mverslon 0 .- .\ppenriix precatory remarks pre f ace. preliminary remarks price 48.) price 4s. price 4s. in cloth, 5s. price~. in cloth, 5s. proceed from 6th to 3rd, production and il\iprovement. progbessl \te exercises. proghessiye progre8bivtr exerciser. progrebhiv e exebcl8i8. prog.re&':iive exehcises. prog.rej:i;1 ve exehc ises. progres8ive exerolti/:;.:;l. progression of l'ants. progression oj' pab'l'i:l progressive exercise.'). progressive exercises progressive exercises. progressive exeroi8ls1:1. progressive exeroibdi. progresslo~ progret:5l:sl'r!l exercises. progreuion of parts progrlli::ilv e .prouresi:hu.n o:f prugriqi/::uve exeh.ulties. qrl i:j jl r4 ~tdh ~ 'ral i 8., raolved on the 3rd oj the .am8 01wrcl. raolved on tm root of tm raolved upon tm 5th oj tm .am8 olwrd. rather than thl1.8- re80lutior_ recitative *** recommendation. reiolved (chap. xi. sect. 25):- relation. relative minors resolutiolls. resolved:- resolves:- @ retell ,w ric' f ~riginnl position:-. rij' (! rolfeggio (rossini) r ~r 11& tid ""rred. i serulw'1<8 r sir* "ii' r rt?!fic rudiments of harmony, .ruolved on the 31'd of the .aml 01&ord. ruolved on tm 7th of tm ,a~ olwrd. ruolwd on a r,xzj'td sabdomidult. same chord (chap. xiii. sects. 5 to 8) :- same part. same part i thus- sapertoale. sbction sbctions sbo'l'ion8 sbotlons scale of scale op schmidt, aloys. five-finger e'xercises se<1l'ionb se<1rions sec1'iolis sec~. hand 15), thus- tf ~ f~ s ecotm sect. sect. 10). sect. 2):~ ~~_ sect. 4):9tb, lat invel'lion. sect. 9). section section 3. section8 sections semitone also : bad. semiton"es in each. seol'ion seo'l'ion8 seo'l'ionb seotion 6. seotions seotions 22 setmolf sgbmcdlla&. shake and tum sir john goss ...* sj:c'l'ion sjwl'ion slid sn:i8elt, dcssm,. and cramen. snspended !ltll; and the solceggi solceggio solceggio in c minor solceggio with cadence solfeggi solfeggio, allegro brillaute solfeggio, allegro spirito song . soog, .. the lotus }<'lower" (schumann) soot. 11.) s.otiolr special names. t sq~dic, wi~h st>mitones and tonell; thus- subject should be studied. subjeot should be studied. such note bears a 1st inversion. susl*e~8i()xs. suspended in another:- suspension of complete chords.. . syncopation syncopation solfeggi szcl'iolf8 szotioli szotion 18. szu'l'ion 9. table of t appendix a. t appendix g. t appendix x. t appendix y. t appeudi:r. s. tartaglione's (g.) vocal studies: taylor. tbii dominant 7th. tfip .~ tfp$ than when one is at that iutcnal; the 11th must """'"" , - the 13th:- the 3rd to the ~118 (the bupertonic 7th) may the 6th. the 7th of the chord. the 8rd of the following chord :- the 9th m the chord:- the bass. the dohinant m.uob the dominant 7th the dominant major the dominant major 13th the dominant minor the dominant minor 13th the dominant minor 13th. the dominant minor 9th. the followidg chord:.19- the free, or chromatic style. the german the harmony; if the intervals last described:- the last example), it may not be doublcr1, the next chord :- the other:- the pedal. the same chord ** the same ohord .. the subdominant. the subdominant which is called pla{jal. the supertonic 7th. the supertonic major 9th the supertonic minor 18th the supertonic minor 9th the supertonio minor 13th. the tonic the tonic major 13th the tonic major 9th the tonic ma.tob 13th. the tonio 7th. the tonio major 9th. the tonio minor 13th the tonio minor 13th. the tonio minor 9th the ttwi~ 7th.. .. th~ joregoing tho dominant minor thorough-bass primer. those most frequently employed ! - tho supertonie 7th ~ths; thus thus- th~ wp and the middle parts tif411 ; fii. til i btf til j tin. j tlfflg-jd i of* i~ ~ tl!ifi3 i r: e i tl~).:it: except if tlr f ij t made no such digression : - tm root (chap. ii. sect. 24) :t~. '- tna major key only. to 9: chap. x. sect. 14.) to be written in four parts. to bf> approached by leap. tobie. toel toe major key only. tonio minob 9th. toric. to sbction to sectioll to section to seo'j'iolf to six1l'ion to the bass :- translated translated and translated and adaptbd treatise on canon and fugue. treatise on harmony. t }, tpendix :m. ttp fell i tue eleveloi'l'h. turns tutors and exercises. tutors, &c' various. u)enfiet~ anb ~el)i&eb uhai'. uhords ol!' the 'l'llmtl:.kntii. ui!' hahmoxy. ul11dlson; ult' uolwolujti and their inv~rsio~~ upper (chap. m upper parts. ~vhen vhu.luj~ vid. vii. sect. 14). viu. vln. vtii. section 10. when the where jt occurs; thus- which have the same signature. which they are taken; (whieh if! a 2nd above the root) becomes while both chords contain wilbye cooper. with with a major (or greater) without 1_ -,wlf\ -'*i~r; ipni~, words, breath, &c. works on the theory of music. would have without the other:- written. written-i=#i~ ;=j }~xerci8es. xiil sem'ion 35. .xil xiv., xiv. to section 5. xl. sect. 25). xlv. xlvn. xovil x. sect. 19) ::- _y available inversion. "yery ot~er 1!1lcoe8bive two dp21'ppii' />
The Rudiments of Harmony
Macfarren, George Alexander - The Rudiments of Harmony
with Progressive Exercises and Appendix


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20th and revised edition
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Compositeur :
George Alexander Macfarren
Macfarren, George Alexander (1813 - 1887)
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Théorie de la musique

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Methodes

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Ajoutée par FS, 18 Fév 2016
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