... 22. X. Stirling: Asd Walzer, Studie des Basses; staccatto auch beim 3. Viertel. October 22, 1912 Stirling: A major Waltz, study of the bass line; staccato on the third quarter as well. ...

... the lesson of that pupil’s pre-prepared analysis. Aufgaben besser; aus dem Finale des Horn-Trio: über die Form u. den thematischen Wert des Rhythmus: rhythmic music example: eighth–quarter–eighth | quarter im 2. Ged. March 4, 1913 Weisse: Beethoven Op ...

... . May 10, 1913 Hupka: Analysis Prelude in F minor; preparation of the suspension decisive for its identification, bar 1, third quarter. ...

... January 4 Deutsch: No entry in lessonbookSchenker's diary for Monday January 4 records: "Mrs. Deutsch appears for her first lesson since the holidays ...". In a long diatribe, Schenker comments that she: "stole a quarter of an hour of mine before ...

... Kahn: From her program: Beethoven Op. 2, first movement middling, the others better; in the first movement, too strong an accent on the upbeat to measure 1 at the expense of the quarter note that follows; she succeeds neither in emphasizing the quarter ...

... 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. ...

... G minor up to A2, and in B minor as far as the D minor passage. Attention drawn to the marcato at the staccato quarter-notes. About theme and Mrs. Brünauer. ...

... the second theme in D minor, especially at the hairpin decrescendo on each fourth quarter; significance of the same. Otherwise played rather well. — Chopin G major Etude: insufficiently p, and too thick; in the D major counter-theme the emphasizing of ...

... place for diary entries, sidelining them to indicate that they should later be copied into the diary.) January 25recte 24, 1912 Kaff: (Belongs to Jan. 25.) An hour and a quarter's conversation with the mother of the pupil concerning the eternal ...

... 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 ...