LIVRESStanford, Charles Villiers
j not be thought incongruous.) notes (or tremolo) such as nottebohm, g. von, 42. now into the scheme. now sing as well. ob&ptd octave . . . octave . * . octave which it evidences. of his of his b~nes are ~ral made; of his bones are coral made; of his workmanship: of ~ into j. of it repeated in ribattuta. of materials upon which he can draw. of phrase, 27-32, 52-54, 57, of the, 3, 20, 97, 98, 108, of the episode. of the first: of the long-repeated notes of b. of the piece. of the servant. of the tenor part. only of the theme, thus on the other on var. 1. the first bar of it orchestration, 9s-111, 171-177. originality, 76, 188, ls9. original position. ornamental additions. or small room demand it. own rhythms. parry, sir hubert, 74. part. part i. parts only, passage-writing, 89, 129. pdyit+ percussion. perfect fifth . perfect fourth perfectly performer and the listener. period. p-eta. phrase: phrases: phrase, thus: phrase which is marked -= pianoforte abominably. picture. piu f ~ ",pj vmf~ff placed still higher. place in the whole scheme. plain. playful in character. prato. prefatory note preislied. prime produced before the public. programme-music, 155-160, 179. providing means of modulation. purcell, henry, 56, 131, 132. puts a cross rhythm. r-4l~-:::=:=f=ul~l~fa=-thom five raphaelsansio, 75,178. recapitulation recitative, 144-146. rembrandt van rijn, 42. repetition, 36, 90, 91, 160. rests and silences. reynolds, sir joshua, 111. rhythm, 23; of detail, 24-21; rhythm, overlapping, 31, 54. (ribauuta repetition). ritardando over the last bar. rj" tlf robbini, g., 138. rondo, 77, 78. rosalia, 185. running version, with the runs thus: sachl. sach.. you ended in another key: same position. scale. scale, whole tone, 17, 18. schumann. robert, 4, 52, 54, 61. search-light on the question: second episode second episode. second subject . second subject, etc. second subject recapitulation second suhjcct. sections shake8peare, w., 129, 178. she enraptured the deep, shop. should abstain from writing shown thus: signs, 11s, 119. sketches, 41-44. snare thus: so-called free, 10, 11. sonata-form. 51, 7s, 80-90. sonatas. 42, 79. soprano, sounds forced and strange. special effects. speed-gauge ..~ spohr, ludwig, 46, 157. spondees (- -). straubb, johann, 10. strausb, richard, 26. strict modal counterpoint. string.. string part. strings (see quartet and trio). students suffice: sun, moon and stars swell of an organ. symphony. the theme is as follows: tackled such a difficulty: technical work. technique temperament, equal, 13, 17, 147. tenor, tenor part. text of a well-written book. than than thus than thus: that were his eyes; the actual notes the blaze the bridge, the note the bridge, the note ~ from g; the b will always the child will tell. the closest study. the compi,ex treatment of melodies. the complex treatment of melodies. the connecting link repeated. the diatonic semitone the final passage; bars 246-249 are founded on the first and second subjects. the following-*sequence of notes the gradations of this type : the instruments. their powers in this form.. the left hand combined with it. them.) the macmillan company theme and first episode. the meistersinger. the melody crossing into the bass. themes, contrast of, 89. them on the other. the octave; the pace. the pair by you united; the pianoforte. the plums for himself. therefore, the following points: the rest. there was a young lady of tyre the seventh and eighth the sketch. the spring, my dear, the subdominant. the treatment of voices the violin, the violin. the voice part is as follows: they leave it." thing of thing rich think in it. think only on your vision's beauty : third, and (f3) is a major third.) this: this can be this episode. this means. this method: this whole section is repeated. those are pearls though life be change, threads at the end. through blood and tears. through that of melody. thrown away.) thus thus: thy fa - ther lies; tia--ai-mua, tied tis-ai-mus, to be written as follows: to four-quaver arpeggios. to make it plain. tonality, 36, 84, 90, 159, 160, to note-values, in time and barred. to pide you well shall be my duty. to - tal eclipse! ~~ to which can be traced trast of, 83, 178. tread it. treble part. trust to inspiration for a melody. tschaikowsky, p., 167. two in section 1. -u from g; unison in the example above: unless you: unnecessary. upon a shallow foundation. upon here. upon what is inherently illimitable. variation variation. variations variations. variations) : variations, 49-72, 141. variations analysed, 58-63. verdi, g., 126, 177. verse 1. verse 2. viol. viola , viola viola. violas. violin.) violin (or soprano), violin, treatment of the, 4, 16, viol. l ~ violoncellos. violoncello, treatment of the, vio~ui$g vowels, treatment of, 135. wagner, riohard, 10, 12, 13, 18, walther sings the second verse. wauher. wherefore alike? way. we may couple with this what bach has accomplished (what we should term a coda.) when the old sweet air wherefore of it. which can be avoided thus: which can be varied in harmony thus : which sounds too long shorter. while preserving its balance. ~'why why thus de-prived thy "wife" stanza.) will become obvious: will gain by their juxtaposition. for an will show: will show that to make t~e chord with and supplement each other. within a variation. with one extra bar to link them. wolf, hugo, 26. workmanship. works great and small. would be too write in the same tempo. you are driving at. your stanzas so will find an end," />
Musical Composition
Stanford, Charles Villiers - Musical Composition
A Short Treatise for Students

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Charles Villiers Stanford
Stanford, Charles Villiers (1852 - 1924)
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Langue :Anglais
Droit d'auteur :Public Domain
Ajoutée par FS, 27 Mar 2016

10 chapters:
1. Introductory
2. Technique
3. Rhythm
4. Melodies and Their Simple Treatment
5. The Complex Treatment of Melodies. Variation
6. Form
7. Colour
8. The Treatment of Voices
9. Extraneous Influences in Instrumental Music
10. Danger Signals
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