OC 3/1-2: Oct 1912-Jun 1913 - Angi Elias: lesson: Monday October 7, 1912
|
7. X. Elias : Korrekt. der Niederschrift des Hm Präl. 1 Verkennen der IV. Stufe in T. ..; die Erklär. dieses Fehlers führt zur Erläuterung der Synk. ringsum, von denen die eine vorbereitet ist (str. Satz VI–II) die andere durch einen Dg vorbereitet wird beim Trugschluß V–VI u.s.w.. Generalbass, Sekundakkord, 1. Abschn. 2 © Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23 |
October 7, [1912] Elias : Correction of her writing down of the B minor Prelude. 1 Misconstrual of the scale-degree IV in bar …; the explanation of this error leads to the elucidation of the syncopation more generally, of which the first is prepared (strict counterpoint VI–II), the second is prepared by way of a passing motion at a deceptive cadence V–VI etc. Thoroughbass, chord of the second, section I. 2 © Translation Ian Bent, 2022-23 |
|
7. X. Elias : Korrekt. der Niederschrift des Hm Präl. 1 Verkennen der IV. Stufe in T. ..; die Erklär. dieses Fehlers führt zur Erläuterung der Synk. ringsum, von denen die eine vorbereitet ist (str. Satz VI–II) die andere durch einen Dg vorbereitet wird beim Trugschluß V–VI u.s.w.. Generalbass, Sekundakkord, 1. Abschn. 2 © Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23 |
|
October 7, [1912] Elias : Correction of her writing down of the B minor Prelude. 1 Misconstrual of the scale-degree IV in bar …; the explanation of this error leads to the elucidation of the syncopation more generally, of which the first is prepared (strict counterpoint VI–II), the second is prepared by way of a passing motion at a deceptive cadence V–VI etc. Thoroughbass, chord of the second, section I. 2 © Translation Ian Bent, 2022-23 |
Footnotes1 Cf. her lesson notes for October 2, 5, and 9. The identity of the work or works is, however, uncertain: Oct 2 “Präl. von Chopin”; Oct 5 “Desdur Präl.”; Oct 7 “Hm Präl.”; Oct 9 “Dd Präl. v. Chopin.” — The last of these has been editorially corrected to Dę, on the supposition that Jeanette may not always accurately interpret her shorthand. “D major Prelude” does, however, appear once more, in her notes for October 19, where the discussion definitely relates to the D major work. 2 Reference is to C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments, Eng. transl. William J. Mitchell (New York: W. W. Norton; London: Cassell, 1949; London: Eulenburg, 1974), pp. 252–60 “The Chord of the Second (I).” |