Harmony: Its Theory and Practice de Ebenezer Prout

Harmony: Its Theory and Practice

Ebenezer Prout

en Limba Engleză Paperback – 16 mai 2018

The music scholar, composer and editor Ebenezer Prout (1835–1909) is best known for his edition of Handel's Messiah and as the man who put words to the fugue subjects in Bach's Well-tempered Klavier. He taught at the Royal Academy of Music (numbering Henry Wood amongst his pupils) and the reputation he established through his works on music theory gained him the post of Professor of Music at Trinity College, Dublin. This is the sixteenth (1903) edition, of his 1889 treatise on harmony which ran through over twenty editions, such was its popularity. This edition marks a significant change in Prout's approach to the theory of harmony, moving from a scientific exposition using the harmonic series to a more aesthetic style, which resulted in extensive re-casting of the work and an entirely new key to the exercises. This reprint includes the analytical key to the exercises.

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	Preț	Express
Paperback (3)	123^.91 lei 17-23 zile
LIGHTNING SOURCE INC – 16 mai 2018	123^.91 lei 17-23 zile
University Press of the Pacific – 30 noi 2004	172^.63 lei 6-8 săpt.
Cambridge University Press – 7 noi 2011	464^.58 lei 6-8 săpt.

Preț

Express

Paperback (3)

123^.91 lei 17-23 zile

LIGHTNING SOURCE INC – 16 mai 2018

123^.91 lei 17-23 zile

University Press of the Pacific – 30 noi 2004

172^.63 lei 6-8 săpt.

Cambridge University Press – 7 noi 2011

464^.58 lei 6-8 săpt.

Cuprins

Preface to the first edition; Preface to the sixteenth edition; 1. Introduction; 2. Key, or tonality; 3. The general laws of part-writing; 4. The diatonic triads of the major key; 5. The diatonic triads of the major key (continued); 6. The inversions of the triads of a major key; 7. The minor key: its diatonic triads and their inversions; 8. The chord of the dominant seventh; 9. Key relationships - modulation to nearly related keys - false relations; 10. Unessential discords (I) - auxiliary notes, passing notes, and anticipation; 11. Unessential discords (II) - suspensions; 12. The chord of the dominant ninth; 13. The chord of the dominant eleventh; 14. The chord of the dominant thirteenth; 15. Chromatic triads - the chromatic scale; 16. Chromatic chords of the seventh; 17. Chromatic chords of the ninth - false notation - enharmonic modulation; 18. Chromatic chords of the eleventh and thirteenth; 19. The chord of the augmented sixth; 20. Pedals; 21. Harmony in fewer and more than four parts; Appendix A. The ecclesiastical modes; Appendix B. The harmonic series; Analytical key to the exercises in the sixteenth and subsequent editions of Harmony: Its Theory and Practice.