An Analytical Study Based on the Essential Harmonic and Melodic Elements as Found in Cesar Franck's E Major Chorale for OrganUniversity of Wisconsin--Madison, 1939 |
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Página 12
... are given out in bb ( meas . 183 ) but marvelously worked out in double counterpoint at the octave , material previously heard at meas . 171 and following meas . anticipated regularity of the harmonic pattern creates a climax which 12.
... are given out in bb ( meas . 183 ) but marvelously worked out in double counterpoint at the octave , material previously heard at meas . 171 and following meas . anticipated regularity of the harmonic pattern creates a climax which 12.
Página 24
... double periods or song forms ) ( 46 meas . ) ; followed by what seems to be a coda but proves eventually to be " the real chorale " , a double period of 18 meas . The intro- duction in all consists of 64 meas . The first variation is 41 ...
... double periods or song forms ) ( 46 meas . ) ; followed by what seems to be a coda but proves eventually to be " the real chorale " , a double period of 18 meas . The intro- duction in all consists of 64 meas . The first variation is 41 ...
Página 26
... might be considered an exposition , the introduction and first var . could be a double exposition , with its stressing of dual tonality E and G ( Brahms , a contemporary , used the unusual mediant tonality for his second 26.
... might be considered an exposition , the introduction and first var . could be a double exposition , with its stressing of dual tonality E and G ( Brahms , a contemporary , used the unusual mediant tonality for his second 26.
Términos y frases comunes
analysis appearance bass beat beginning Bourdon cadence characteristic chorale chord chromatic close coda coda-chorale coda-chorale period combination completes composer composition conclusion considered continual contrapuntal contributing tonalities derived descends diminution dominant double effect element enharmonically essential establishes fact fifths figure final Flûte four large four measures fourth Franck give harmonic idea includes indicated integrated interest interlude interval introduction lower major manuals material meas melodic melodic analysis minor modulation motive mystic nature notes observed octave organ Organ with Fonds original passacaglia pedal pedal point perhaps period period No.I phrases played progression proportions quarter religious rhythm rhythmic second half second variation seen sequences seventh sixth sonata song soprano starts stop style suspense Swell symmetry theme thesis third higher third variation three measures tonality tone tonic traits transposed treatment Vox Humana whole written