Each can be used both as repertory and as teaching material. 1 i n G m a j o r Form & Rhythm Blues Scales Syncopation More difficult than the one above, they are also more modern in idiom. 7 in A 1st mvt, Presto 4 7 0 2 A t t w o o d S o n a t i n a N o. 5 Gavotte in B flat 1 1 1 6 6 Arne Sonata N o. 3 in G 2nd mvt, Allegro 1 0 3 5 5 Arne Sonata N o. 2 in E m inor Andante 1 1 8 1 7 Arne Sonata N o. 1 in F 3rd mvt 1 1 1 5 6 Arne Sonata N o. 07 1 0 3 6 5 Arne Sonata in D minor Andante 1 0 3 7 5 Arne Sonata in G minor 1st mvt 1 1 8 0 7 Arne Sonata N o. 1 6 1 1 7 8 7 Arensky Le Couco u 1 1 7 9 7 Arensky Prelude in E major, Op. 26 6 2 0 7 A r e n s k y C o n s o l a t i o n O p. 23 4 8 9 1 A l t H o t N o o n i n t h e M e a d o w I n t r o d u c t i o n t o h o w c h o r d s d e v e l o p e m o t i o n 4 8 8 1 A l t T h e O c e a n P a t t e r n I n t r o d u c t i o n 4 9 0 2 A l t W h e r e t h e p a l m t r e e g r o w s I n t r o d u c t i o n t o c o n t e m p o r a r y m u s i c 6 6 4 U Arensky 24 Character pieces Op. 6 3 1 0 3 4 5 Alkan L'Homm e aux Sabo ts Op.63 No. But even if the 40-year-old JS Bach was aware of Rameau's book, probably had little influence on his thought processes.4 8 5 2A g a y F o u r p o p u l a r d i v e r s i o n s 4 8 3 1A g a y M y s t e r i o u s P r o c e s s i o n 4 8 4 2A g a y P e t i t T r i a n o n s u i t e 1 2 7 0 8 Albéniz Cádiz (saeta ) 4th mvt fro m ‘Suite Esp añola no 1’, Op 47 1 2 7 1 8 Albéniz En la Playa no 7 from ‘Recuerdos d e Viaje’, Op 71 1 2 7 2 8 Albéniz Evocation From ‘Ibe ria’ 1 1 7 6 7 Albéniz Rumores d e la Cale ta, Op 71 /6 1 1 7 7 7 Albéniz Serenata, from 'Espa ña', Op 165 4 8 6 2A l d e r i g h i S i g n i L i e t i 4 8 7 2 A l e x a n d r o w P i e c e s f o r C h i l d r e n 6 6 3 UA l k a n E s q u i s s e s o p. In 1722, Rameau wrote his own textbook with the revolutionary idea that the notes C-E-G and E-G-C were really two versions of the same chord, and not two different sets of intervals (5-3 and 6-3) above two different bass notes (which of course corresponds with current thinking about harmony). Harmonic progressions in the modern sense were an "emergent property" of the counterpoint, not the other way round. On the evidence of CPE Bach's textbook "the true art of playing keyboard instruments", which contains a long section on improvising a keyboard accompaniment from a figured bass part, it is clear that Bach didn't think in terms of "chords", but rather in terms of intervals above the bass part. it's not a very profitable question to ask.Īn 18th or 19th century analysis would probably have called bars 12-13 a modulation into C minor en route to B flat major in bar 14, but that would not be the 20th or 21st century interpretation. Trying to decide "exactly" where transition occurs between the D chord reduced to only one note (D) and the G7 is a bit like trying to decide "exactly" where red changes to orange when looking at a rainbow - i.e. The D-C-B-A in the bass of bar 12 are a natural way to get from an (inplied) D chord to the G7 in bar 13. But this piece isn't 4-part common-practice 18th-century harmony, it's two-part counterpoint. The bare octave D at the start of bar 12 is functioning as a dominant of G minor. a G dominant 7th chord, or B diminished if you prefer to call it that because the only G is the passing-note in the treble. You are right to label bar 14 as ii V I in B flat major.īar 13 is a secondary dominant of ii, i.e.
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