Exercises in Elementary Counterpoint (Classic Reprint)

Exercises in Elementary Counterpoint (Classic Reprint) Review

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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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Exercises in Elementary Counterpoint

Exercises in Elementary Counterpoint Review

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This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.

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Jazz Improvisation and Harmony: (Elementary to Advanced)

Jazz Improvisation and Harmony: (Elementary to Advanced) Review

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Jazz Improvisation and Harmony: (Elementary to Advanced) Feature

Fascinating, clear and comprehensive, this book is used at the Royal Academy of Music in London. It includes scales, modes and ragas, 15th chords, mystic jazz chords, resolutions and progressions, improvised jazz solos plus rhythms and timing applicable to electronic music.

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Exercises In Elementary Counterpoint

Exercises In Elementary Counterpoint Review

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Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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Kodály Today: A Cognitive Approach to Elementary Music Education

Kodály Today: A Cognitive Approach to Elementary Music Education Review

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Kodály Today: A Cognitive Approach to Elementary Music Education Feature

In Kodály Today, Mícheál Houlahan and Philip Tacka offer an expertly-researched, thorough, and - most importantly - practical approach to transforming curriculum goals into tangible, achievable musical objectives and effective lesson plans. Their model - grounded in the latest research in music perception and cognition - outlines the concrete practices behind constructing effective teaching portfolios, selecting engaging music repertoire for the classroom, and teaching musicianship skills successfully to elementary students of all degrees of proficiency. Addressing the most important questions in creating and teaching Kodály-based programs, Houlahan and Tacka write through a practical lens, presenting a clear picture of how the teaching and learning processes go hand-in-hand. Their innovative approach was designed through a close, six-year collaboration between music instructors and researchers, and offers teachers an easily-followed, step-by-step roadmap for developing students' musical understanding and metacognition skills. A comprehensive resource in the realm of elementary music education, this book is a valuable reference for all in-service music educators, music supervisors, and students and instructors in music education.

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