30. X.
Weisse :

Noch einmal Brahms Hm Walzer, T. 8–9; 1 Aufgabe sehr gut 1+2+2+2; 2 Scherzo, Trio aus op. 60, Stufengang; Wechselnoten-Harmonien.

© Transcription Robert Kosovsky, 2007, 2020


October 30, [1913]
Weisse :

Once again Brahms’s B minor Waltz, measures 8–9; 1 exercise very good 1+2+2+2; 2 Scherzo and Trio from Op. 60: scale-degree progression; changing-note harmonies.

© Translation Ian Bent, 2020


30. X.
Weisse :

Noch einmal Brahms Hm Walzer, T. 8–9; 1 Aufgabe sehr gut 1+2+2+2; 2 Scherzo, Trio aus op. 60, Stufengang; Wechselnoten-Harmonien.

© Transcription Robert Kosovsky, 2007, 2020


October 30, [1913]
Weisse :

Once again Brahms’s B minor Waltz, measures 8–9; 1 exercise very good 1+2+2+2; 2 Scherzo and Trio from Op. 60: scale-degree progression; changing-note harmonies.

© Translation Ian Bent, 2020

Footnotes

1 Weisse wrote a letter to Schenker the next day following through on Schenker’s suggestions for the Brahms’s B major Waltz: OJ 15/15, [C].

2 i.e. mixed-species counterpoint of four voices, one in 1st species, three in 2nd species. — Several of Weisse’s exercise books from his studies with Schenker have survived: for a detailed description, see Timothy L. Jackson, "Punctus contra punctus – a Counterpoint of Schenkerian and Weissian Analysis and Hans Weisse’s Counterpoint Studies with Heinrich Schenker," Journal of Schenkerian Studies, 4 (2010), pp. 87–186, esp. pp. 138–80. Heft V (Notebook 5) contains Weisse’s exercises for 1913/14, and survives, see Jackson, pp. 166–80 and pp. 139–40.