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... received “second autograph” that he has been showing Weisse and Brünauer in the past two days. November 12, 1913 Elias: Bach Prelude from memory; Fugue: continuation and elucidation of the voice-leading, and correction of her plan of the fugue; passages ...
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... Instrumentalen kehrt dieselbe Erscheinung in den ganz kleinen Formen wieder; vgl. z.B. Brahms Walzer Gismoll u. manche Schubert’sche.] January 18, 1912 Vrieslander: Start of three-voice counterpoint; once again scale-degrees, voice-leading. Orchestral sketch for ...
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Diary entry for 1917-08-29
... , combine voice leading with eating; but then the latter two gentlemen suddenly take their leave of Bach and me, and I reproach them by saying that they would never learn the theory of voice leading if they did not eat with us. In the dream I even pursue the ...
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Diary entry for 1924-02-21
... . 10:00 in the morning Urlinie graph completed. Work on several voice-leadings from Op. 129. To Detoni (letter): where is the fifth issue? Op. 78 for correcting; also request supplement for the sonatas requiring correction. Where have the ordered books ...
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... examples of voice-leading in Mozart’s Andante con variationi; particularly the six-chord passages in expanded register, bars 6–7; further concerning a sustained tone woven into a passing six-chord succession. Mozart’s favorite technique: see D minor ...
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... “die Gründe” probably overwritten upon singular “der Grund.” derselben. February 9, 1912 Weisse: in left margin: II/2 freier Satzend marginalia [voice-leading in the second variation. Distinction between obligatory and continuo voices; the minutiae in the ...
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... and effort in his research into voice-leading problems.” This and the lessonbook entry appear to be the first reference to Brahms’s Oktaven und Quinten u.A., of which Schenker made an edition with commentary in 1933; “against all expectation” suggests ...
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... 20), with one indeterminate, so it is impossible to build a complete picture of her lesson schedule. October 8, 1914 Elias: First chorale from the St. Matthew Passion in different versions with elucidations of voice-leading. Brahms Intermezzo Op. 119 ...
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... Kontrapunkt. The structure of the latter work to a great extent mirrors that of the Gradus, however Schenker was not without his criticism of Fux's approach; stating that Fux's "theory of voice leading was based on a purely vocal foundation," he identifies Fux ...
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... down the content of Weisse's lessons in particular detail, sometimes including music examples and voice-leading graphs. The richness of these notes suggests that Weisse was a valued pupil (though Schenker often complained about him!) who asked ...