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... Hupka : Beethoven op. 101 neu; Brahms: Konzert Bdur, neu, 1. Satz ganz; Kontrapunkt bis zum dreistimm. SatzReference presumably to Schenker’s Kontrapunkt, the second volume of which is subtitled Drei- und Mehrstimmiger Satz; Übergänge zum Freien ...
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... Ländler. Sonatas (in A minor) by C. P. E. Bach: first movement, development section in A minor. [Andante: counter-theme in C major already itself also, so to speak, representing the second theme, merely one, not several keys in the counter-theme. A more ...
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... ; the second C minor section of the C minor Waltz and the B minor Intermezzo. ...
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... immature waltzes No. 3 and 4; the means of elongation of Waltz No. 3 for cadential purposes; the avoidance of any closure in the second half of the waltz (starting with the repetition of the first). Of all effects and scale-degrees. Weisse indicated that he ...
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... section of the reprise was compared; similarly the modulatory section of the second and third theme. Hence a sort of synoptic study with a view to a simplified assimilation of the differences. Also, this approach best reveals how much poorer the demeanor ...
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... but to F minor: the A accidental signals a return modulation. Already in the first section there are elements of a second modulatory move that, however, fails this time and has consequently found refuge distributed in the two main sections. Difficult ...
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... influenced practice; on the difference of meaning between e.g. d1 as a neighbor note used in the course of the composing out of the triad C G E, and a harmony on D that itself attains to composing out, which, however, is then the second upper fifth i.e. G B D. ...
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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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... iv (2010), 139 and 146ff, collated with Weisse’s own surviving counterpoint notebooks. Lessons for those dates, the exercises, with Schenker’s annotations, for which are preserved in the first and second notebooks, cover four-voice counterpoint, first ...
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... Schenker is advising Elias to take over the G on the second beat in the right hand. October 18, 1913 Elias: Bach: Prelude in C minor; Chopin: Etude in F minor fingering compared with that of Pugno, and the mechanical aspects of the latter pointed out ...