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 |
Dentro del libro
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Página 7
... fifths . and No. V return to the tonality of E. Periods No. As the top melodic line of the first four measures of period No.I establishes a melodic thesis of an upward progressing third , so the tonal relations over the six first ...
... fifths . and No. V return to the tonality of E. Periods No. As the top melodic line of the first four measures of period No.I establishes a melodic thesis of an upward progressing third , so the tonal relations over the six first ...
Página 10
... fifths . The first chord in meas . 106 would resolve normally as Vy in F , meas . 108 as Vry in A , meas . 110 as Vy in Db , but each dominant seventh in turn is shunted along . The effect of the rising fifths against the contrary ...
... fifths . The first chord in meas . 106 would resolve normally as Vy in F , meas . 108 as Vry in A , meas . 110 as Vy in Db , but each dominant seventh in turn is shunted along . The effect of the rising fifths against the contrary ...
Página 26
... fifths ( meas . 232 ) is characteristic . A modulation to a tone a third higher or lower is favored enough to say that it is an essential trait . At times there is continual modulation so subtle as to cover tonality by evasive cadences ...
... fifths ( meas . 232 ) is characteristic . A modulation to a tone a third higher or lower is favored enough to say that it is an essential trait . At times there is continual modulation so subtle as to cover tonality by evasive cadences ...
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