The elements of musical composition and thoroughbase; together with rules for arranging music for the full orchestra and military bands

 
9781236121431: The elements of musical composition and thoroughbase; together with rules for arranging music for the full orchestra and military bands

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1845 Excerpt: ...occurs, as. modulations are of two kinds, viz. 1st. when no accidentals are introduced; and 2d. when accidentals are introduced. When the first takes place, it is termed modulation within the key; and as we have treated of the progression of chords more or less, (and this kind of modulation is nothing more than certain harmonies within the key,) in our preceding lefesons, it will not be necessary for us to study this kind of modulation here. When accidentals are introduced, the modulation is termed a deviating modulation, as we necessarily pass into another key or scale. Modulations are usually in lst. What do you understand by the word Modulation? 2d. When are we said to pass from one key to another? troduced with the dominant seventh. For example, if we "wish to modulate from the key of C to the key of F, we take the dominant seventh to F, the letters of which are C, E, G and B, and the resolution is to the tonic of F, thus--Here are a series of modulations from the key of C to F4f and hack again, passing through all the intermediate keys by the chord of the dominant seventh, thus--, From C to 3d. What chord is most frequently used in modulalation? 4th. Will you name each modulation that takes place in the above examples? Jn the next example, we modulate from the key of C to Gp and back again, passing through all the intermediate keys, thus--, From C to gfe. The above examples we will term progressive modulations, from the fact, that, in modulating from one key to a more remote one, we pass through all the intermediate keys, without omitting any. The pupil will take notice, that either of the inversions or positions of the dominant 7th may be taken in modulating from one key to another. In the next lesson we shall treat of a different kind, and will ...

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Isaac Baker Woodbury
Published by RareBooksClub
ISBN 10: 1236121430 ISBN 13: 9781236121431
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Book Description RareBooksClub. Paperback. Book Condition: New. This item is printed on demand. 24 pages. Dimensions: 9.7in. x 7.4in. x 0.2in.This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1845 Excerpt: . . . occurs, as. modulations are of two kinds, viz. 1st. when no accidentals are introduced; and 2d. when accidentals are introduced. When the first takes place, it is termed modulation within the key; and as we have treated of the progression of chords more or less, (and this kind of modulation is nothing more than certain harmonies within the key, ) in our preceding lefesons, it will not be necessary for us to study this kind of modulation here. When accidentals are introduced, the modulation is termed a deviating modulation, as we necessarily pass into another key or scale. Modulations are usually in lst. What do you understand by the word Modulation 2d. When are we said to pass from one key to another troduced with the dominant seventh. For example, if we wish to modulate from the key of C to the key of F, we take the dominant seventh to F, the letters of which are C, E, G and B, and the resolution is to the tonic of F, thus--Here are a series of modulations from the key of C to F4f and hack again, passing through all the intermediate keys by the chord of the dominant seventh, thus--, From C to 3d. What chord is most frequently used in modulalation 4th. Will you name each modulation that takes place in the above examples Jn the next example, we modulate from the key of C to Gp and back again, passing through all the intermediate keys, thus--, From C to gfe. The above examples we will term progressive modulations, from the fact, that, in modulating from one key to a more remote one, we pass through all the intermediate keys, without omitting any. The pupil will take notice, that either of the inversions or positions of the dominant 7th may be taken in modulating from one key to another. In the next lesson we shall treat of a different kind, and will . . . This item ships from La Vergne,TN. Paperback. Bookseller Inventory # 9781236121431

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