Contenu:
Hindemith Paul
PrefaceQuarter
notes, half
notes, and whole
notes (and rests)High, medium, and low tones2/4 and 4/4 metersG
clef, and tones f', g', a', b'Eighth
notes and sixteenth
notesTones e' and c'3/4 meter, dotted half
notes, tiesTones d' and c'octaveledger linesone
and two
lined octavesSlurssyllable divisionup
beatsdynamic accentsDotted quarter
and eighth
notes (and rests)Small octavemajor scale# and naturaldiatonic and chromatic half
toneskey signaturesTime
signatures of simple meters having the denominators 1, 2, 8, and 16indications for slow and moderate tempibrevis and dotted whole
notesThree
and four
lined octavesbDouble
dotted notes (and rests)thirty
second
and sixty
fourth
notesindications for fast tempiBass clefgreat octaveintervalsperfect fifth and fourthinversionsMetric accentsmeter and rhythmcundoctors' patterns for beating timesyncopationcompound metersContra octrave and sub
contra octavemajor and minor thirds and sixthstranspositionTriplets and other divisions by factors not implied in the time
signaturesMajor and minor seconds and seventhsIndications for changing tempiMeters with signatures having the numerators 5, 7, etc. and corresponding patterns for beating timeAlto clefaugmented and diminished intervalsprime or unsonx and bbenharmonic transcriptioncircle of fifths, circle of fourthsIndications of dynamics and expressionsMusical FormTenor clefintervals exceeding the octavedoubly diminshed or augmented intervalsminor scale (all forms)Church Modesrelative major and minorsignatures of minor keysAbbreviationsrests longer than one measureornamentsmarks of articulationchromatic scalePreface to Part TwoDictations (incl. discussion of 'absolute pitch')Index
|
