Exercises in Elementary Counterpoint (Classic Reprint)

Exercises in Elementary Counterpoint (Classic Reprint) Review

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Exercises in Elementary Counterpoint (Classic Reprint) Feature

EXERCISES IN ELEMENTARY COUNTERPOINT INTRODUCTION. Music, theoretically considered, consists altogethe'( of LINES OF TONE. It more nearly resembles a picture, or an architectural drawing. than any other art-creation; the difference being that in the drawing the lines are visible and constant, while in music they are audible and ir motion. The separate tones are the points through which the lines arc drawn; and the impression which is intended, and which is apprehended by the intelligent listener, is not that of single tones, but of continuous Lines of tones, describing movel'nents, curves and angles, rising, falling. poising, - directly analogous to the linear impressions conveyed by a picture or drawing. The popular name for such a tone-line is "Melody." As several tone-lines are usually being traced simultaneously, it follows that several corresponding melodies may, and generaJly do, appear together. The term Melody, however, is applied specifically to the principa

Table of Contents

TABLE OF CONTENTS; PAGE; INTRODUCTION I; Chapter I THE SINGLE MElODIC LINE, STEPWISE PROGRESSIONS AND NARROW; LEAPS 5; Exercise I 7; Chapter II WIDER LEAPS 8; Exercise 2 I I; Chapter III EXCEPTIONAL PROGRESSIONS, AND THE MINOR MODE I I; Exercise 3 15; Chapter IV THE ASSOCIATION OF Two MELODIC LINES CORRESPONDING; RHYTHM FUNDAMENTAL INTERVALS MAJOR MODE IS; Exercise 4; Chapter V FUNDAMENTAL INTERVALS, MINOR MODE; Exercise 5; Chapter VI EXCEPTIONAL INTERVALS; ExerC1'e 6; Chapter VII RHYTHMIC DIVERSITY Two NOTES TO EACH BEAT; Exercise 7; Chapter VIII MODULATIONS; Exercise 8; Chapter IX THREE NOTES TO EACH BEAT; Exercise 9; Chapter X SYNCOPATION, OR SHIFTED RHYTHM TIES Two AND THREE; 20; 37; 41; NOTES TO EACH BEAT 47; Exercise 10; Chapter XI THE TIE, CONTINUED RESTS; Exercise II; Chapter XII FOUR NOTES TO EACH BEAT; Exercise 12; Chapter XIII FOUR NOTES TO EACH BEAT, AS AMPLIFIED FORMS; Exercise 13; 50; Sf; 56; 57; 62; ~ABLE OF CONTE

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Classic Guitar Technique Vol 2 (Shearer Series)

Classic Guitar Technique Vol 2 (Shearer Series) Review

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Classic Guitar Technique Vol 2 (Shearer Series) Feature

Volume 1 of Classic Guitar Technique presented a systematic approach for gradual musical and technical development toward mastery of this noble instrument. No effort has been spared in study, research, and experiment to continue the same approach in Volume 2. The full value of these works will be grasped only by those students who are willing to contribute a similar effort on their own part, both in a sympathetic approach to the contents of the books, and a constant evaluation of personal problems which a text by its very nature is unable to consider. This text should be used with its supplements to coordinate a program of study that will comply with the requirements of the individual student.

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