Elementary Training For Musicians HINDEMITH PAUL

Classique

Contenu

Preface
Quarter-notes, half-notes, and whole-notes (and rests)
High, medium, and low tones
2/4 and 4/4 meters
G-clef, and tones f', g', a', b'
Eighth-notes and sixteenth-notes
Tones e' and c'
3/4 meter, dotted half-notes, ties
Tones d' and c'
octave
ledger lines
one- and two-lined octaves
Slurs
syllable division
up-beats
dynamic accents
Dotted quarter- and eighth-notes (and rests)
Small octave
major scale
# and natural
diatonic and chromatic half-tones
key signatures
Time-signatures of simple meters having the denominators 1, 2, 8, and 16
indications for slow and moderate tempi
brevis and dotted whole-notes
Three- and four-lined octaves
b
Double-dotted notes (and rests)
thirty-second- and sixty-fourth-notes
indications for fast tempi
Bass clef
great octave
intervals
perfect fifth and fourth
inversions
Metric accents
meter and rhythm
cundoctors' patterns for beating time
syncopation
compound meters
Contra octrave and sub-contra octave
major and minor thirds and sixths
transposition
Triplets and other divisions by factors not implied in the time-signatures
Major and minor seconds and sevenths
Indications for changing tempi
Meters with signatures having the numerators 5, 7, etc. and corresponding patterns for beating time
Alto clef
augmented and diminished intervals
prime or unson
x and bb
enharmonic transcription
circle of fifths, circle of fourths
Indications of dynamics and expressions
Musical Form
Tenor clef
intervals exceeding the octave
doubly diminshed or augmented intervals
minor scale (all forms)
Church Modes
relative major and minor
signatures of minor keys
Abbreviations
rests longer than one measure
ornaments
marks of articulation
chromatic scale
Preface to Part Two
Dictations (incl. discussion of 'absolute pitch')
Index

Description :

Publié à l'origine dans les années 1940, manuels commentait de Paul Hindemith sont encore les oeuvres remarquables de leur genre. Contrairement à de nombreux manuels musicales écrites par des musiciens académiques, celles-ci ont été produites par un homme qui pourrait jouer tous les instruments de l'orchestre, pourrait composer une pièce satisfaisante pour presque tous les types d'ensemble, et qui était un des professeurs plus stimulantes de son époque. Il n'est donc pas surprenant que presque quarante ans plus tard ces livres demeurent essentielles à la lecture de l'étudiant et le musicien professionnel.