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... 9. II. Stirling: : Fm Nocturne feilen; die Nebennoten in der Schlußpassage. February 9, 1912 Stirling: Polishing of the F minor Nocturne; the neighbor-notes in the closing passage. ...
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Diary entry for 1931-10-02
... 2. Schön, wie Fortsetzung des endlich wahr gewordenen „schönen Herbstes“. Vor Tisch: Diktat zum freien Satz. Von Brünauer durch einen Boten: Bonbons u. „Walzer “! – der einzige Komponist an dem jede Note zerschellt! Nach der Jause Wege im Dorf, dann ...
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... the bass as the harmony, turning back toward C minor. January 18 19 , 1912 Stirling: Chopin C minor Waltz, bar 5, bass note E; a variant of the harmonic progression; rhythm in the harmonic exchange at the first and third quarter-note. ...
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... 2. X. Kaff: Grieg op. 28 Adur Wechselnote im Amoll Teil; Modulation nach Emoll; Orgelpunkt in As u. A. Plagaler Schluß VI–I. October 2, 1912 Kaff: Grieg Op. 28, No. 3 in A major changing note in the A minor section; modulation toward E minor; pedal ...
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... ; questions on the Chopin B minor Prelude; concerning prepared suspensions and about passing notes; difference between strict counterpoint and free composition. ...
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... ‘s Eccossaises; new: Prelude in C minor, meticulous; neighbor-notes and variants. ...
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... 17. V. Elias: Liszt: Canzonetta zuende; rep: Mazurka u. über die Nebennoten aus dem Cm Präl. May 17, 1913 Elias: Liszt: Canzonetta through to the end; revisited: Mazurka, and about the neighbor-notes in the C minor Prelude. ...
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Diary entry for 1931-01-25
... °: harbinger of spring!?! Neighboring Note in Free Composition revised once more; all previous sections put in order before tackling the Linear Progressions. 11:45, dictation of the section on Neighboring Note. At Café Pucher. Radio: Washmaidens’ Ball! A waltz ...
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Diary entry for 1931-01-23
... versäumten). 23. Work on Free Composition: Neighboring Note. From 11 to 11:45, a stroll to the Belvedere in unpleasant weather. Radio: 7:30, Prof. Oberhummer on Austria’s polar expedition. To Türtscher (letter from Lie-Liechen): greetings to all. To Fanny ...
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... true 6/4 for the voice-leading of the bass, examples; bars 9–12: whether modulation or diatony with chromaticism; brevity as basis of twilight. On to No. 2: bar 1: passing-note and neighbornote in the form of a seventh chord; bar 2: first quarter ...