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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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... 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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... 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 ...
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... . — Schenker’s diary for April 17 has the entry: “Ueber die Nebennoten in Chopins Prälude 2.” (“Concerning the neighbor-notes in Chopin's Prelude No. 2.”). Quart im Motiv als Quint; über I–VI–IV–II V; Modul. durch Umdeutung, hierauf Erhöhung, d–dis–e; Erhöhung ...
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... ; Brahms Waltz in D minor; articulation different from harmony; the change in the middle section on the basis of the passing note on the second quarter in the left hand; about the seventh-chord construction toward the close; on the changing notes in the ...
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... consequences; about the descending third with three abbreviations; drastic modulation III–I, VI–I; about neighbor-note harmonies, especially those that appear to expresss V–I. ...