-
... ): thanks for telling me about the consecutive octaves in the second volume of Counterpoint; I shall get hold of Hába via Hoboken.") nur um es nicht zu vergessen, will ich, was Sie wahrscheinlich ohnedies schon wissen, Ihnen zur Vorsicht schreiben. Im 2 ...
-
... Society of the Friends of Music in Vienna On my instructions, Universal Edition, Vienna, will be sending you in the coming days two complimentary copies of the posthumous study by Johannes Brahms, Octaves and Fifths etc.. Please accept my warmest thanks ...
-
... "Stimmenzedierung": literally the "yielding of the voices," i.e. their gradual progression to the lower register in the course of the octave-progression in the bass. beim begleitenden Quartzug aufzuzeigen. Das Lagenspiel der Schlussbrechungen habe ich daher auch für e ...
-
... Grüssen von Rosl und mir Euer Arnold Wohlgeboren Herrn Dr. Heinrich Schenker Wien. Arnold Weil Aussig, April 26, 1933 Dear Ly-Ly and dear Heinrich, Cordial thanks for the familiarity that I have gained by your sending of Octaves and Fifths. Even though I ...
-
... rasch zu den Notenblättern.The “manuscript leaves” in question may have been the music pages (in facsimile) of Brahms’s study of consecutive fifths and octaves (Oktaven und Quinten); Schenker’s comments on them were with the printers by mid-February 1933 ...
-
... sacred act, in which I feel myself obliged anew to decide how the well-known octave-motif of the second movement should be performed — whether, to put it briefly, it should be staccato or non-staccato, i.e. whether this way: or this: .Beethoven added no ...
-
... . But this beautiful pretence is something that is derived from counterpoint itself, which in fact truly refuses all interpretation. For the composing-out, how much more convenient, in fact, is the succession 8–3, whereby the octave and the third can ...
-
... voice. The development of harmonic degree I shows an octave-progression, e2–e1, which in a certain sense is divided into two tetrachord-like fourth-progressions, which enable the harmonic affirmation II3–V (in bars 10–11) and V–I (bars 18–19) at their ...
-
... octave-progression.) In conclusion, I should like to recount to you just one of my regular teaching stories. When I try to expound the content of a piece – let's say by Beethoven – to a new pupil, I always have to be ready for the question: "Did Beethoven ...
-
... 's birth, comprises a facsimile of an eight-page manuscript in which Brahms recorded (under this title) all the instances he could find of consecutive fifths and octaves in the works of composers from the 16th to the 19th centuries. Schenker provided a ...