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... Brahms Trio, Op. 114; especially about antecedent and consequent; demonstrated in Mendelssohn's Songs without Words; about possibilities for extension. ...
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Diary entry for 1913-03-27
... to the holiday!). In the evening they come again for a second time to Lie-Liechen. The conversation revolved primarily around forms, in particular on antecedent–consequent construction in which the antecedent itself is again divided into antecedent ...
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... Wiederholung von Takten im Laufe eines Gedankenbaues. October 15, 1912 Weisse: Some questions arising from my Theory of Harmony, thus: the seventh and the 7th overtone; antecedent and consequent; the example of Chopin in my Theory of Harmony from the F major ...
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... until the B major–F major theme; it is impossible for all the preceding material to be thought of as the modulatory section; consequently the second theme must be inferred earlier, at the first cantabile turn of the G major. There is a serious error at ...
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Diary entry for 1913-01-23
... Adagio of Beethoven’s Sonata in B flat major; concerning the difference between juxtaposition and the construction of an antecedent phrase; concerning the double-bars, which are apparently aids to understanding form; on the superiority of antecedent-consequent ...
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... dieser Stelle legato von Daumen zu Daumen der linken Hand im Schlußgedanken.] January 27, 1912 Elias: in left margin: “Ninth Symphony?”end marginalia First movement of Brahms Clarinet Sonata performance. [Concerning the sf in the consequent of the first ...
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... ; otherwise the group would be compromised. In the consequent and in the modulatory section the 16th-note figure is determinate for future working out, hence not as in the music of Dvořák or worse composers. In the modulatory section itself a foretaste, with ...
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... C major to G minor, and so forth. Further work on Schubert waltzes, rather skilful; comparison of the form types of the first three preludes: No. 3 the simplest: antecedent–consequent, with decidedly melodic physiognomy; No. 1 motivically more ...
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... : construction of antecedent and consequent in a passage from Brahms’s Op. 60. ...
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... 1. Teiles mit wahrer Küsterheuchelei Bdur. November 7, 1913 Breisach: Haydn: Trio in F minor, form: modulation from the Consequent of the First Theme; the rapidity makes it necessary, before the arrival of the true Second Theme, to create a long ...