Advanced Ear-training and Sight-singing As Applied to the Study of Harmony - Couverture souple

Wedge, George. A.

 
9781443754880: Advanced Ear-training and Sight-singing As Applied to the Study of Harmony

Synopsis

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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Présentation de l'éditeur

The study of Harmony generally consists of writing notes, mathematically calculated from a figured bass, without hearing their sound or understanding their use and bearing upon playing or singing. A musician must be able to read and hear written music as readily as he reads his mother tongue. The purpose of this book is to show the pupil how to study and apply Har mony, to develop the ability to hear what is written and to furnish exercises for study. Each Lesson is divided into threeS ections: Section A contains the exercises for written work, applying Harmony toM elodic Construction and Harmonization, and the study ofF orm; Section B, the exercises for Harmonic, Interval and Melodic Dictation; Section C, the exercises inS inging I ntervals, Rhythms, Chords andS ight-R eading. In clas8work it has been found practical to use two fifty-minute periods a week, devoting one period to Sections A and Band the other to Section C. The explanations at the beginning of each Lesson combined withS ection Ccan be used for the study of Sight-S inging without the written work of Section A and theE ar-T raining of Section B. Following is a plan of the book, showing the development of the work and order in which the factors are taken up. AN ACKNOWLEDGMENT The author wishes to express his gratitude toD r. Frank Damrosch, who has encouraged and sponsored this work as it has been developed in the classes at the Institute of Musical A rt; To Miss Helen W. Whiley for loyalty and enthusiasm in presenting this material, and help in the preparation of the manuscript; To Dr. Thomas Tapper for reviewing the manuscript; To Dr. Percy Goetchius Tone Relations and Material Used in Musical Composition ;T oM r. Franklin W. Robinson for ideas in presenting Harmonic Dictation and the use and meaning of chords. To G. Schirmer, I nc. for the use of copyrighted material in theE xercises forS igh
(Typographical errors above are due to OCR software and don't occur in the book.)

Présentation de l'éditeur

This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.

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