... 5. Okt. Hupka: Harmonielehre; über die Molltonart; Begründung der Molldomin. mit der Notwendigkeit tematisch-motivischer Transposit. October 5, 1912 Hupka: Theory of Harmony; the minor key; rationale for the minor dominant with the necessity for ...

... 12. X. Hupka: Fortsetzung: über die Molldominante in Moll;Cf. Hupka’s lesson notes for October 5. einiges zur Sonate 108. October 12, 1912 Hupka: Continuation: the minor dominant in minor; a few things on Sonata Op. 108. ...

... 17. Brünauer: Cism Fuge, 5 Einsätze; Bm rep.; über die Stelle vor dem Orgelpunkt der Dominante. March 17, 1914 Brünauer: C minor Fugue, five entrances; B minor revisited; on the passage before the organ point of the dominant. ...

... the dominant has been sounded does the main key itself enter.] Memory of Brahms‘s performance of this piece; the first lukewarm applause came just after the Allegretto! The Andante was a flop. ...

... the contrast in the Rondo; some things from the Brahms Quartet and lastly the Brahms Trio, first movement, form; especially on I.b bars 13–17; inversion in the development bars 15–17 from the root of the Dominant built into the four-note chord bars 35 ...

... half-cadence and anticipation of the second theme, which is, however, not that which occurs later as genuinely the second theme. Concerning the wayward keys of the second orchestral theme; the opening of the third theme with the dominant; concerning the ...

... the previous text in the dominant of the cadence. — In the C major song, monotony of the bass entrances on the strong beat of the bar avoided by the fact that in bars 3–4 it is begun after a 16th-note rest. At the close, anticipation as combining of ...

... A1 was lacking as the strongest point after which the next two bars, so to speak, must follow in shadow. The failure to sustain the strong rhythm over the dominant of (bar …) also made the fingers confused and the playing illusory. With good ...