Verwandte Artikel zu Modern Harmony In Its Theory And Practice (1905)
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Inhaltsangabe
Modern Harmony In Its Theory And Practice is a comprehensive guide to the principles of harmony in music, written by Arthur Foote and first published in 1905. The book covers a wide range of topics related to the theory and practice of harmony, including chord construction, chord progressions, modulation, and counterpoint. Foote's approach to teaching harmony emphasizes the importance of understanding the underlying principles of music theory, and he provides numerous examples and exercises to help readers develop their skills. The book is aimed at students of music theory and composition, as well as professional musicians looking to deepen their understanding of harmony. Despite its age, Modern Harmony In Its Theory And Practice remains a valuable resource for anyone interested in the study of music theory and composition.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
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Reseña del editor
This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!
Reseña del editor
Not a few statements and rules have been current in text-books that, from the point of view of composers and of the best teachers to-day, are unnecessary and sometimes even incorrect. When we find a rule constantly broken by one great composer after another, it is probable that the rule ought to be modified or given up, and not that the composers are wrong. It is the intention that statements and rules in this book shall be expressed with exact truth, and explained when real explanation is possible. It has also been remembered that better work is secured by directions as to what may be done, than by laying too much stress upon what is forbidden. A bout some matters there is a marked difference of opinion among theorists; such things cannot be considered as settled for good and all, and no definite statement should be made excluding other well-grounded points of view, e.g. the chords of the llth and 13th. The chord of the 6th has been treated with more detail than usual, an attempt having been made to analyze and classify the features that make this chord so difficult for the student. While the old strict rules as to secondary 7ths are given fully, the modern theory and use of these chords have received just consideration. The chord of the 9th has been discussed as a largely independent chord; it was also obvious that the growing feeling about chords of the llth and 13th ought to be recognized, although the opinion of the authors, as explained in the chapter on that subject, is that these latter can seldom be classified as independent chords. It is believed that the treatment of chromatic alterations in chords, and of the augmented 6th, 6-5 and 6-4-3 chords is in accordance with present thought, and that this is also the case as regards suspension. The chapter on the old modes is necessarily brief, but it is hoped that it may lead the student to further inves
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