By Ron Gorow
The total Musician -- the full Musician -- The objective -- the tactic -- components of the method -- song Terminology -- own education -- constructing Your Ear -- notion -- lively Listening -- instrument package number one -- From Sound to track -- From Sound to track -- tune area and Time -- Tones of Nature -- The Octave -- Why 7? -- Why 12? -- past 12 -- Relativity -- the cloth of track -- the cloth of tune -- Idealized periods -- Vertical durations -- Melodic periods -- period identity -- instrument package #2 -- possessing the durations -- listening to durations -- listening to durations -- tips for studying periods -- resource of the first periods -- The Octave: Nature's starting place -- 5th & Fourth: Essence of Tonality -- Thirds: Essence of Modality -- Seconds: Essence of Melody -- The Tritone -- Complementary durations -- prolonged durations -- The period Palette -- listening to words -- listening to words -- Modules of tune -- Tetrachord Modes -- Diatonic Modes -- Modality as a device -- Tonality as a device -- conception of a word -- instrument package #3 -- Tonal association -- Nuts and Bolts -- Transcribing song -- Transcribing tune -- Focusing Your Ear -- Ear Care -- paintings atmosphere -- Sketching -- identifying gear -- Transcription approach -- Transcription process -- simple approach -- Transcribing from reminiscence -- Transcribing Recorded song -- procedure and approach -- Transcribing Improvised Solos -- Transcribing "Live" -- Transcribing Midi -- Transcribing from the artistic mind's eye -- conception to Notation -- listening to and Writing: Rhythm -- strains -- Counterpoint -- Chords and Verticals -- Chord Progressions -- Lead Sheets -- Lyrics -- Orchestration -- entire rankings -- speaking with song Notation -- Language of tune Notation -- normal song Notation -- Chromatic Notation -- Microtonal Notation -- modifying -- variety -- what's sturdy Notation? -- necessities of Notation -- Notational Practices -- Writing for particular tools -- desktop Generated Notation -- past ordinary Notation -- guidance for functionality and Publishing -- coaching for functionality and Publishing -- track Prep -- modern tune Notation -- common track codecs -- Printing track -- Copyright legislations and also you -- examine Plans -- solutions to study Questions -- options to Notation difficulties -- specialist track Jobs -- expert tune corporations -- Books and provides -- Transcribing track -- Composition -- Your First movie ranking -- Tonal Rows -- Microtonal song, exchange Tuning -- an international of tools -- Bridging the earlier to the long run
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Extra info for Hearing and Writing Music: Professional Training for Today's Musician
Etwas langsamer. " MODERN HARMONY we may go outside the diatonic range for one of the only, or for two at the most, immediately returning either to the same chord, or to some other wellknown harmony. 79. Largo sostenuto. VAUGHAN-W1LLIAMS, A Sea Symphony? (Scheme) THE DODECUPLE (OR TWELVE-NOTE} SCALE Ex. 82. ' As yon sweet flow. SIBELIUS, Allegro. Ob. 43 4th Symphony. I. II. m i Sir. pfrz. The next method the progression by exactly equal steps by minor thirds, as in the Wagner motiv then (Example 37) by major thirds, as in the Bantock and Karg-Elert passages (Examples 83 and 84).
The collapse came when a string of Successions major thirds or major sixths was attempted, and of Major faQ effort made by some of the theorists to explain Thirds and succession of diminished seventh chords as ma Major Sixths. eluding some falsely written major sixths would not be devoid of humour had it not been productive of such deplorable results to students of harmony. But the power of giving successions of equal intervals and chords by no means exhausts the possibilities of the " semi" ^ona l scale.
3. |i * i j N? WAGNER,"Parsifal"Act II.