Elements of music
Subtitle: Harmony, Counterpoint, Rhythm, Analysis, & Musical Form
Publisher: Longmans, Green, and Co.
Published: 1896
Place of publication: New York, USA
Language: eng
Table of contents: title: CONTENTS; title: PART I.; title: ELEMENTS OF MUSIC.; title: CHAPTER PAGE; title: I. Notes, Clefs, Leger Lines 1; title: II. The Alto and Tenor Clefs ; The Great Stave   3; title: III. Origin of the Form of Clefs, Use of Clefs, Octaves 7; title: IV. Shape and Length of Notes 10; title: V. Accent and Time 13; title: VI. Time-signatures 18; title: VII. Accents, Beating Time, Rests, &c.   24; title: VIII. Triplets, Syncopation 28; title: IX. Semitones, Sharps, Flats, Naturals   35; title: X. Major Scales 37; title: XI. The Minor Scale 44; title: XII. Keys 50; title: XIII. Acoustics 52; title: XIV. Diatonic and Chromatic Semitones   55; title: XV. The Chromatic Scale 59; title: XVI. Intervals 61; title: XVII. Chromatic Intervals 66; title: XVIII. Inversion of Intervals 69; title: XIX. Transposition 73; title: XX. Dots, Abbreviations, &c 76; title: XXI. Grace Notes 82; title: XXII. Musical Terms 86; title: PART II.; title: HARMONY.; title: Introductory Chapter— Intervals 93; title: XXIII. Melody and Harmony    100; title: XXIV. Common Chords in Succession 105; title: XXV. Common Chords in Succession — continued  113; title: XXVI. Common Chords in Major Keys 117; title: XXVII. First Inversions in Major Keys 119; title: XXVIII. Second Inversions in Major Keys 124; title: XXIX. Common Chords in Minor Keys 130; title: XXX. Inversions of  Triads in Minor Keys   134; title: XXXI. The Dominant Seventh in Major Keys   138; title: XXXII. Inversions of  the Dominant Seventh in Major Keys 144; title: XXXIII. The Dominant Seventh in Minor Keys   148; title: XXXIV. Secondary or Non-Dominant Sevenths   151; title: XXXV. Recapitulation of  the Laws of  Part-writing   156; title: XXXVI. Cadences 162; title: XXXVII. Sequences. 166; title: XXXVIII. Modulation 169; title: XXXIX. Suspensions 175; title: Sect. I. The Suspended Ninth   176; title: Sect. II. The Suspended Fourth   181; title: Sect. III. Other Suspensions 185; title: XL. Passing Notes, Auxiliary Notes, Anticipations, Retardations 189; title: XLI. Chords of the Ninth 198; title: Sect. I. The Dominant Ninth 198; title: Sect. II. Inversions of  the Dominant Ninth   201; title: Sect. III. The Diminished Seventh, Enharmonic Modulation 204; title: Sect. IV. Secondary Ninths 209; title: XLII. The Dominant Eleventh     211; title: XLIII. The Dominant Thirteenth 214; title: XLIV. Chromatic Concords 212; title: XLV. Chromatic Fundamental Discords  222; title: Sect. I. Supertonic and Tonic Sevenths 222; title: Sect. II. Supertonic and Tonic Ninths   225; title: Sect. III. Chromatic Elevenths and Thirteenths 227; title: Sect. IV. Fundamental Discords and the Chromatic Scale 230; title: XLVI. The Augmented Sixth 233; title: XLVII. The Dissonant Triads     238; title: XLVIII. Pedal Notes, Arpeggios, Ground Bass   240; title: XLIX. Modulation — continued 245; title: L. How to Harmonise a Melody 248; title: COUNTERPOINT.; title: LI. Introductory 261; title: LII. Laws of Progression 268; title: LIII. First Species of Counterpoint 267; title: LIV. Second Species of Counterpoint 271; title: LV. Third Species of Counterpoint 276; title: LVI. Fourth Species of Counterpoint 278; title: LVII. Fifth Species of Counterpoint 281; title: LVIII. Combined Counterpoint 288; title: Canti Fermi for Exercises in Counterpoint   287; title: PART III.; title: RHYTHM.; title: LIX. Sentences and Phrases 289; title: LX. The Method of Barring Music 299; title: LXI. Sections and Motives; The Relation of Sections 302; title: LXII. How Sentences are Lengthened 309; title: LXIII. How Sentences are Shortened 314; title: LXIV. Examples of Rhythm     318; title: FORM.; title: LXV. Key-Relationship     324; title: LXVI. Sect. I. Two-Part Form 325; title: Sect. II. Three-Part Form 334; title: LXVII. The Sonata ; Sonata Form ; Cyclic Form   340; title: Sect. I. The Exposition 342; title: Sect. II. The Development 349; title: Sect. III. The Recapitulation and Coda   357; title: XIXVIII. The Slow Movement ; Modified Sonata Form   364; title: LXIX. The Minuet and Trio; The Scherzo   368; title: LXX. Sect. I. Rondo Form 371; title: Sect. II. The Modern Rondo or Sonata-Rondo 375; title: LXXI. The History of the Sonata and Sonata Form 376; title: LXXII. Orchestral Music ; Concerted Music   383; title: Sect. I. The Overture 383; title: Sect. II. The Symphony 385; title: Sect. III. The Concerto 387; title: Sect. IV. The String Quartet 389; title: LXXIII. Variations; The Fantasia 390; title: LXXIV. Imitation ; Canon and Fugue ; Fugue and Sonata Form Combined  391; title: LXXV. The Suite; The Partita; Dance Forms 402; title: LXXVI. Vocal Music     405; title: General Index    409; title: List of Works Analysed in Part III 414