Ebenezer Prout

CONTENTS Introduction Rhythm--Sentences and Phrases The Subdivisions of a Musical Sentence-- Sections and Motives Modulation-- Key-Relationship The Means of Modulation-- Modulation by Means of Triads The Construction of Simple Sentences with Regular Rhythm Irregular and Complex Rhythms The Simple Binary Form The Simple Ternary Form Ebenezer Prout (1835-1909) was Professor of Harmony and Composition at the Royal Academy of Music, and Professor of Music in the University of Dublin. He is also the author of Applied Form, Harmony: Its Theory and Practice and Counterpoint: Strict and Free. He edited the Monthly Musical Review (1871-1875), and was a music critic for The Academy (1874-79) and The Athenaeum (1879-89).

Applied Forms is the sequel to Musical Form. Contents: Introduction Pianoforte Writing The Dance Forms The Smaller Instrumental Forms The Variation Forms The Older Rondo Form The Sonata Form: The Exposition The Sonata Form: The Development, and Recapitulation Modified Sonata Forms The Modern Rondo (Rondo-Sonata) Form Mixed and Indefinite Forms Cyclic Forms Organ Music Vocal Music Ebenezer Prout (1835-1909) was Professor of Harmony and Composition at the Royal Academy of Music, and Professor of Music in the University of Dublin. He is also the author of Applied Form, Harmony: Its Theory and Practice and Counterpoint: Strict and Free. He edited the Monthly Musical Review (1871-1875), and was a music critic for The Academy (1874-79) and The Athenaeum (1879-89).

Prout's still indispensable work is profusely illustrated with musical examples woven directly into the text. Strict Counterpoint is the preliminary technical work for actual musical composition. At the time of original publication, Ebenezer Prout was Professor of Harmony and Composition at the Royal Academy of Music.

The second edition of Prout's still indispensable work, profusely illustrated with musical examples woven directly into the text. The study of double counterpoint and of the various forms of imitation is an invaluable and indispensable introduction to the higher branches of composition. This title is cited and recommended by Books for College Libraries. At the time of original publication in 1893, Ebenezer Prout was Professor of Harmony and Composition at the Royal Academy of Music. He is also the author of Harmony: Its Theory and Practice and Counterpoint: Strict and Free.

CONTENTS Introduction Key, or Tonality The General Laws of Part-Writing The Diatonic Triads of the Major Key The Inversions of the Triads of a Major Key The Minor Key: Its Diatonic Triads and Their Inversions The Chord of the Dominant Seventh Key Relationship -- Modulation to Nearly Related Keys -- False Relation Unessential Discords -- Auxiliary Notes, Passing Notes, and Anticipations Unessential Discords -- Suspensions The Chord of the Dominant Ninth The Chord of the Dominant Eleventh The Chord of the Dominant Thirteenth Chromatic Triads -- The Chromatic Scale Chromatic Cords of the Seventh Chromatic Cords of the Ninth -- False Notation -- Enharmonic Modulation Chromatic Cords of the Eleventh and Thirteenth The Chord of the Augmented Sixth Pedals Harmony in Fewer and More than Four Parts Appendix A. The Ecclesiastical Modes Appendix B. The Harmonic Series

With his usual thoroughness, Prof. Prout discusses the musical capabilities of the various instruments in the symphony orchestra and the problems involved in composing music for them. This classic 1877 treatise from the high-Romantic era examines the capabilities and techniques for each instrument of the orchestra and the ways in which composition for them can be accomplished. This title is cited and recommended by Books for College Libraries. At the time of original publication, Ebenezer Prout, Mus.D., was Professor of Music at the University of Dublin.