Counterpoint: A Practical Course of Study |
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Page 3
... according to the expanse of its minor semitone . The relative vibrations of the two notes of a major tone are 9 : 8 , those of a minor tone are 10 : 9 . 12. Inversion of intervals is the change of the relative position of their notes ...
... according to the expanse of its minor semitone . The relative vibrations of the two notes of a major tone are 9 : 8 , those of a minor tone are 10 : 9 . 12. Inversion of intervals is the change of the relative position of their notes ...
Page 6
... according to what note was chosen for the final or key - note . There were four authentic modes with their tonic and dominant at the interval of a 5th , or in which melodies lay chiefly within an octave from the key- note upwards ; they ...
... according to what note was chosen for the final or key - note . There were four authentic modes with their tonic and dominant at the interval of a 5th , or in which melodies lay chiefly within an octave from the key- note upwards ; they ...
Page 7
... according to what note is chosen for the final or key - note ; and the same Greek names are employed , but these are differently applied , the Dorian having the semitones between the 1st and 2nd , and between the 5th and 6th degrees ...
... according to what note is chosen for the final or key - note ; and the same Greek names are employed , but these are differently applied , the Dorian having the semitones between the 1st and 2nd , and between the 5th and 6th degrees ...
Page 16
... according to the quality of its 3rd . The note whence these intervals are counted gives its name to the chord , and this note is the root of the combination in whatever position or inversion the chord may be sounded . Thus there may be ...
... according to the quality of its 3rd . The note whence these intervals are counted gives its name to the chord , and this note is the root of the combination in whatever position or inversion the chord may be sounded . Thus there may be ...
Page 23
... according to the models that have been given , the larger number being in minor keys , because of the greater difficulty of treating this form of tonality . The bass should be figured ( Sects . 88 and 101 ) , whether it be the Subject ...
... according to the models that have been given , the larger number being in minor keys , because of the greater difficulty of treating this form of tonality . The bass should be figured ( Sects . 88 and 101 ) , whether it be the Subject ...
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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
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