{ "schema_version": 1, "id": "cutter-harmonic-analysis", "title": "Harmonic Analysis", "work_title": "Harmonic Analysis", "author": "Benjamin Cutter", "reader_title": "Cutter · Harmonic Analysis", "share_attribution": "Benjamin Cutter · Harmonic Analysis", "source_language": "en", "source_label": "English", "reading_versions": [ "en" ], "status": "reflowed-edition", "verification_status": "source-compared-prose", "edition_note": "Reflowed from the 1902 Oliver Ditson first edition (Internet Archive, University of California copy). Every page was transcribed from the page image and compared with it; source pages remain available. AI source comparison, not independent human proofreading.", "notation_note": "Every example keeps its original engraving. Examples marked playable were read from the print twice, independently, compared note for note, and checked against the original image; others show the original only.", "coverage_note": "151 of 151 source pages; 164 music examples, 164 playable from notation read from the print.", "blocks": [ { "id": "cutter-title", "type": "heading", "heading_level": 2, "english": "Harmonic Analysis", "original": "Harmonic Analysis", "sources": [], "reading_order": 1 }, { "id": "cutter-byline", "type": "paragraph", "english": "Benjamin Cutter · Boston: Oliver Ditson Company, 1902", "original": "Benjamin Cutter · Boston: Oliver Ditson Company, 1902", "sources": [], "reading_order": 2 }, { "id": "cutter-p002-1", "type": "paragraph", "sources": [ { "pdf_page": 2, "source_image": "source-pages/p-002.jpg", "printed_label": "PDF 2" } ], "english": "THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES", "original": "THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES", "reading_order": 3 }, { "id": "cutter-p002-2", "type": "paragraph", "sources": [ { "pdf_page": 2, "source_image": "source-pages/p-002.jpg", "printed_label": "PDF 2" } ], "english": "GIFT OF Benno Rubinyi", "original": "GIFT OF Benno Rubinyi", "reading_order": 4 }, { "id": "cutter-p004-1", "type": "paragraph", "sources": [ { "pdf_page": 4, "source_image": "source-pages/p-004.jpg", "printed_label": "PDF 4" } ], "english": "Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation", "original": "Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation", "reading_order": 5 }, { "id": "cutter-p004-2", "type": "paragraph", "sources": [ { "pdf_page": 4, "source_image": "source-pages/p-004.jpg", "printed_label": "PDF 4" } ], "english": "http://www.archive.org/details/harmonicanalysis00cuttiala", "original": "http://www.archive.org/details/harmonicanalysis00cuttiala", "reading_order": 6 }, { "id": "cutter-p005-1", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "HARMONIC ANALYSIS", "original": "HARMONIC ANALYSIS", "reading_order": 7 }, { "id": "cutter-p005-2", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "A COURSE IN THE ANALYSIS OF THE CHORDS AND OF THE NON-HARMONIC TONES TO BE FOUND IN MUSIC, CLASSIC AND MODERN", "original": "A COURSE IN THE ANALYSIS OF THE CHORDS AND OF THE NON-HARMONIC TONES TO BE FOUND IN MUSIC, CLASSIC AND MODERN", "reading_order": 8 }, { "id": "cutter-p005-3", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "BY BENJAMIN CUTTER", "original": "BY BENJAMIN CUTTER", "reading_order": 9 }, { "id": "cutter-p005-4", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "$1.25", "original": "$1.25", "reading_order": 10 }, { "id": "cutter-p005-5", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "BOSTON OLIVER DITSON COMPANY", "original": "BOSTON OLIVER DITSON COMPANY", "reading_order": 11 }, { "id": "cutter-p005-6", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "NEW YORK CHAS. H. DITSON & CO.", "original": "NEW YORK CHAS. H. DITSON & CO.", "reading_order": 12 }, { "id": "cutter-p005-7", "type": "paragraph", "sources": [ { "pdf_page": 5, "source_image": "source-pages/p-005.jpg", "printed_label": "PDF 5" } ], "english": "CHICAGO LYON & HEALY", "original": "CHICAGO LYON & HEALY", "reading_order": 13 }, { "id": "cutter-p006-1", "type": "paragraph", "sources": [ { "pdf_page": 6, "source_image": "source-pages/p-006.jpg", "printed_label": "PDF 6" } ], "english": "HARMONIC ANALYSIS", "original": "HARMONIC ANALYSIS", "reading_order": 14 }, { "id": "cutter-p008-1", "type": "heading", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "heading_level": 2, "english": "PREFACE.", "original": "PREFACE.", "reading_order": 15 }, { "id": "cutter-p008-2", "type": "paragraph", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "english": "This book is designed, primarily, for those who have studied Harmony and would apply it in their every-day musical life,—in other words, in their playing and in their teaching. It is planned—although no premium is hereby placed on superficiality—as much for those people who have made poor work of their harmony, so far as turning out a good-sounding product is concerned, as for those to whom the difficulties were as naught. Furthermore, it is planned for him who, living in some place inaccessible to the best performances, would fain review what he has learned,—if possible, in a manner other than that of laboriously writing exercises,—would broaden his musical horizon and thus increase the gift Heaven has given him, and appease, in a measure, that hunger for chords and for things harmonic which characterizes so strongly this present day.", "original": "This book is designed, primarily, for those who have studied Harmony and would apply it in their every-day musical life,—in other words, in their playing and in their teaching. It is planned—although no premium is hereby placed on superficiality—as much for those people who have made poor work of their harmony, so far as turning out a good-sounding product is concerned, as for those to whom the difficulties were as naught. Furthermore, it is planned for him who, living in some place inaccessible to the best performances, would fain review what he has learned,—if possible, in a manner other than that of laboriously writing exercises,—would broaden his musical horizon and thus increase the gift Heaven has given him, and appease, in a measure, that hunger for chords and for things harmonic which characterizes so strongly this present day.", "reading_order": 16 }, { "id": "cutter-p008-3", "type": "paragraph", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" } ], "english": "By not a few observers it has often been thought that the ordinary course in harmony ceased before its rightful end, and that there was no connection, or not enough connection, made between harmony and playing; i.e., between harmony and practical musicianship. Harmonic Analysis, it has been held, would give the ordinary non-composing student an opportunity to make his harmony a live thing; and experience has justified this idea.", "original": "By not a few observers it has often been thought that the ordinary course in harmony ceased before its rightful end, and that there was no connection, or not enough connection, made between harmony and playing; i.e., between harmony and practical musicianship. Harmonic Analysis, it has been held, would give the ordinary non-composing student an opportunity to make his harmony a live thing; and experience has justified this idea.", "inline": [ { "text": "By not a few observers it has often been thought that the ordinary course in harmony ceased before its rightful end, and that there was no connection, or not enough connection, made between harmony and playing; " }, { "text": "i.e.", "tag": "em" }, { "text": ", between harmony and practical musicianship. Harmonic Analysis, it has been held, would give the ordinary non-composing student an opportunity to make his harmony a live thing; and experience has justified this idea." } ], "reading_order": 17 }, { "id": "cutter-p008-4", "type": "paragraph", "sources": [ { "pdf_page": 8, "source_image": "source-pages/p-008.jpg", "printed_label": "PDF 8" }, { "pdf_page": 9, "source_image": "source-pages/p-009.jpg", "printed_label": "vi" } ], "english": "The Course of Instruction in the New England Conservatory of Music, Boston, Massachusetts, from which this book has grown, was planned for forty class lessons. After canvassing the field, the following representative works were chosen, and have been held to with gratifying success: Schumann, Scenes from Childhood, Op. 68; Bizet, Suites, L’Arlésienne, Nos. 1 and 2; Chopin, Preludes; Wagner, Selections from Tannhäuser, Lohengrin, Tristan; and, in some cases, Grieg, Humoresken, Op. 6. Absence of a text-book made imperative, however, from the beginning, not only the dictation of principles, but also constant discussion, time-robbing, and, because more or less was naturally forgotten, unsatisfactory. A text-book became necessary; a book comprehensive and up to date. On studying his subject for the recitation and for this book, the writer confesses that he was dismayed by its dimensions and by the very multitude of conditions he was forced to consider and to explain. The number of harmonic phenomena, of tone combinations, complications, which occur in modern music, although they admit of a reasonable classification, goes well-nigh into the infinite. More than this, not a few are extremely subtle in nature. Things which the composer absorbs unwittingly, and accounts for in an off-handed manner, if at all, may to the layman, when he comes to define them, present very considerable difficulties. Furthermore, these subtleties occur in every-day modern music. For these reasons a certain breadth of scope and entrance into detail has been observed from necessity in the general plan of this book.", "original": "The Course of Instruction in the New England Conservatory of Music, Boston, Massachusetts, from which this book has grown, was planned for forty class lessons. After canvassing the field, the following representative works were chosen, and have been held to with gratifying success: Schumann, Scenes from Childhood, Op. 68; Bizet, Suites, L’Arlésienne, Nos. 1 and 2; Chopin, Preludes; Wagner, Selections from Tannhäuser, Lohengrin, Tristan; and, in some cases, Grieg, Humoresken, Op. 6. Absence of a text-book made imperative, however, from the beginning, not only the dictation of principles, but also constant discussion, time-robbing, and, because more or less was naturally forgotten, unsatisfactory. A text-book became necessary; a book comprehensive and up to date. On studying his subject for the recitation and for this book, the writer confesses that he was dismayed by its dimensions and by the very multitude of conditions he was forced to consider and to explain. The number of harmonic phenomena, of tone combinations, complications, which occur in modern music, although they admit of a reasonable classification, goes well-nigh into the infinite. More than this, not a few are extremely subtle in nature. Things which the composer absorbs unwittingly, and accounts for in an off-handed manner, if at all, may to the layman, when he comes to define them, present very considerable difficulties. Furthermore, these subtleties occur in every-day modern music. For these reasons a certain breadth of scope and entrance into detail has been observed from necessity in the general plan of this book.", "inline": [ { "text": "The Course of Instruction in the New England Conservatory of Music, Boston, Massachusetts, from which this book has grown, was planned for forty class lessons. After canvassing the field, the following representative works were chosen, and have been held to with gratifying success: Schumann, " }, { "text": "Scenes from Childhood", "tag": "em" }, { "text": ", Op. 68; Bizet, Suites, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Nos. 1 and 2; Chopin, " }, { "text": "Preludes", "tag": "em" }, { "text": "; Wagner, Selections from " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", " }, { "text": "Tristan", "tag": "em" }, { "text": "; and, in some cases, Grieg, " }, { "text": "Humoresken", "tag": "em" }, { "text": ", Op. 6. Absence of a text-book made imperative, however, from the beginning, not only the dictation of principles, but also constant discussion, time-robbing, and, because more or less was naturally forgotten, unsatisfactory. A text-book became necessary; a book comprehensive and up to date. On studying his subject for the recitation and for this book, the writer confesses that he was dismayed by its dimensions and by the very multitude of conditions he was forced to consider and to explain. The number of harmonic phenomena, of tone combinations, complications, which occur in modern music, although they admit of a reasonable classification, goes well-nigh into the infinite. More than this, not a few are extremely subtle in nature. Things which the composer absorbs unwittingly, and accounts for in an off-handed manner, if at all, may to the layman, when he comes to define them, present very considerable difficulties. Furthermore, these subtleties occur in every-day modern music. For these reasons a certain breadth of scope and entrance into detail has been observed from necessity in the general plan of this book." } ], "reading_order": 18 }, { "id": "cutter-p009-2", "type": "paragraph", "sources": [ { "pdf_page": 9, "source_image": "source-pages/p-009.jpg", "printed_label": "vi" } ], "english": "As will be noted, examples have been drawn from the most varied sources. The page-limits of a work of this sort forbade, however, the use of many quotations which might have been used and which suggest themselves, no doubt, to the connoisseur. But it is thought that this presentation will be found ample enough for practical purposes,—provided the student applies what he has acquired here.", "original": "As will be noted, examples have been drawn from the most varied sources. The page-limits of a work of this sort forbade, however, the use of many quotations which might have been used and which suggest themselves, no doubt, to the connoisseur. But it is thought that this presentation will be found ample enough for practical purposes,—provided the student applies what he has acquired here.", "reading_order": 19 }, { "id": "cutter-p009-3", "type": "paragraph", "sources": [ { "pdf_page": 9, "source_image": "source-pages/p-009.jpg", "printed_label": "vi" }, { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "vii" } ], "english": "It is believed by men generally, that the understanding of a thing heightens its enjoyment. We read “Hamlet” with care, that not a point of stage-craft may be lost, and our emotions are moved the more powerfully because of our knowledge. In the same way, it is believed that by a careful study of this book, one may learn not only to analyze and to understand anything in the way of harmony that he may chance to meet in musical literature, classical or modern, but—what is far more important—through his heightened powers of comprehension he may be enabled to hear with greater understanding, to read at sight with more facility, to play and to sing with more intelligence, and consequently may have his musical perceptions—those gifts of delight to man—quickened and made more responsive, whether he act as player, as singer, or as listener.", "original": "It is believed by men generally, that the understanding of a thing heightens its enjoyment. We read “Hamlet” with care, that not a point of stage-craft may be lost, and our emotions are moved the more powerfully because of our knowledge. In the same way, it is believed that by a careful study of this book, one may learn not only to analyze and to understand anything in the way of harmony that he may chance to meet in musical literature, classical or modern, but—what is far more important—through his heightened powers of comprehension he may be enabled to hear with greater understanding, to read at sight with more facility, to play and to sing with more intelligence, and consequently may have his musical perceptions—those gifts of delight to man—quickened and made more responsive, whether he act as player, as singer, or as listener.", "reading_order": 20 }, { "id": "cutter-p010-2", "type": "paragraph", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "vii" } ], "english": "And, lastly,—and this is not the least consideration,—the author believes, and by experience knows, that the student of composition may be benefited by a study of this subject; that, instead of spending more or less valuable time in finding out the many minutiæ of modern harmony, he may behold them here stated for his examination and possible application.", "original": "And, lastly,—and this is not the least consideration,—the author believes, and by experience knows, that the student of composition may be benefited by a study of this subject; that, instead of spending more or less valuable time in finding out the many minutiæ of modern harmony, he may behold them here stated for his examination and possible application.", "reading_order": 21 }, { "id": "cutter-p010-3", "type": "paragraph", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "vii" } ], "english": "BENJAMIN CUTTER.", "original": "BENJAMIN CUTTER.", "reading_order": 22 }, { "id": "cutter-p010-4", "type": "paragraph", "sources": [ { "pdf_page": 10, "source_image": "source-pages/p-010.jpg", "printed_label": "vii" } ], "english": "Boston, June 12, 1902.", "original": "Boston, June 12, 1902.", "reading_order": 23 }, { "id": "cutter-p012-1", "type": "heading", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12" } ], "heading_level": 2, "english": "CONTENTS.", "original": "CONTENTS.", "reading_order": 24 }, { "id": "cutter-p012-2", "type": "paragraph", "english": "Section Page 1. Definition 1 2. Requirements 1 3. On Progressions in General 1 4. Plan of Study 2 5. Remarks to the Teacher 2 6. Signs used in Marking 3 7. Principles of Analysis. (Preliminary Statement.) 4 8. Triads and Seventh Chords. (No Modulations.) 4 9. The Broken Chord 8 10. Reduction 9 11. The Broken Chord, the Appoggiatura, the Passing Tone, and the Embellishment 10 12. Modulation 15 13. Principles of Analysis 17 14. Real Modulations 19", "original": "Section Page 1. Definition 1 2. Requirements 1 3. On Progressions in General 1 4. Plan of Study 2 5. Remarks to the Teacher 2 6. Signs used in Marking 3 7. Principles of Analysis. (Preliminary Statement.) 4 8. Triads and Seventh Chords. (No Modulations.) 4 9. The Broken Chord 8 10. Reduction 9 11. The Broken Chord, the Appoggiatura, the Passing Tone, and the Embellishment 10 12. Modulation 15 13. Principles of Analysis 17 14. Real Modulations 19", "tables": { "en": { "columns": [ "Section", "", "Page" ], "rows": [ [ "1.", "Definition", "1" ], [ "2.", "Requirements", "1" ], [ "3.", "On Progressions in General", "1" ], [ "4.", "Plan of Study", "2" ], [ "5.", "Remarks to the Teacher", "2" ], [ "6.", "Signs used in Marking", "3" ], [ "7.", "Principles of Analysis. (Preliminary Statement.)", "4" ], [ "8.", "Triads and Seventh Chords. (No Modulations.)", "4" ], [ "9.", "The Broken Chord", "8" ], [ "10.", "Reduction", "9" ], [ "11.", "The Broken Chord, the Appoggiatura, the Passing Tone, and the Embellishment", "10" ], [ "12.", "Modulation", "15" ], [ "13.", "Principles of Analysis", "17" ], [ "14.", "Real Modulations", "19" ] ] } }, "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12" } ], "reading_order": 25 }, { "id": "cutter-p012-2c", "type": "caption", "english": "PART ONE. INTRODUCTORY.", "original": "PART ONE. INTRODUCTORY.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12" } ], "reading_order": 26 }, { "id": "cutter-p012-3", "type": "paragraph", "english": "Section Page 15. References 23 16. The Appoggiatura (continued) 23 17. The Appoggiatura Chord 25 18. The Free Tone 26", "original": "Section Page 15. References 23 16. The Appoggiatura (continued) 23 17. The Appoggiatura Chord 25 18. The Free Tone 26", "tables": { "en": { "columns": [ "Section", "", "Page" ], "rows": [ [ "15.", "References", "23" ], [ "16.", "The Appoggiatura (continued)", "23" ], [ "17.", "The Appoggiatura Chord", "25" ], [ "18.", "The Free Tone", "26" ] ] } }, "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12" } ], "reading_order": 27 }, { "id": "cutter-p012-3c", "type": "caption", "english": "PART TWO. THE NON-HARMONIC TONES, IN DETAIL.", "original": "PART TWO. THE NON-HARMONIC TONES, IN DETAIL.", "sources": [ { "pdf_page": 12, "source_image": "source-pages/p-012.jpg", "printed_label": "PDF 12" } ], "reading_order": 28 }, { "id": "cutter-p013-1", "type": "paragraph", "english": "Section Page 19. The Passing Tone (continued) 27 20. The Embellishment (continued) 28 21. The Embellishing Chord 29 22. The Suspension 31 23. The Anticipation 33 24. The Free Anticipation 34 25. The Retardation 34 26. The Organ Point; the Pedal 35 27. Dispersion of Chord Members 37 28. Tones sustained by Damper Pedal of the Piano 38", "original": "Section Page 19. The Passing Tone (continued) 27 20. The Embellishment (continued) 28 21. The Embellishing Chord 29 22. The Suspension 31 23. The Anticipation 33 24. The Free Anticipation 34 25. The Retardation 34 26. The Organ Point; the Pedal 35 27. Dispersion of Chord Members 37 28. Tones sustained by Damper Pedal of the Piano 38", "tables": { "en": { "columns": [ "Section", "", "Page" ], "rows": [ [ "19.", "The Passing Tone (continued)", "27" ], [ "20.", "The Embellishment (continued)", "28" ], [ "21.", "The Embellishing Chord", "29" ], [ "22.", "The Suspension", "31" ], [ "23.", "The Anticipation", "33" ], [ "24.", "The Free Anticipation", "34" ], [ "25.", "The Retardation", "34" ], [ "26.", "The Organ Point; the Pedal", "35" ], [ "27.", "Dispersion of Chord Members", "37" ], [ "28.", "Tones sustained by Damper Pedal of the Piano", "38" ] ] } }, "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "x" } ], "reading_order": 29 }, { "id": "cutter-p013-2", "type": "paragraph", "english": "Section Page 29. Altered Chords 39 30. The Supertonic Seventh with Sharp Third 39 31. Other Altered Steps 40 32. Apparent and Real Modulations 41 33. Consecutive Dominant Sevenths 44 34. Enharmonics 44 35. Modulation through the Six-Four 49 36. Assumption of Key 49 37. Incomplete Modulation 50 38. The Deceptive Resolution 51 39. Passing Diminished Seventh Chords 52 40. The Diminished Seventh on the Raised Fourth Step 54 41. Secondary Seventh Chords in General 54 42. The Augmented Sixth Chords 56 43. Modulation down a Minor Second by an Augmented Chord 59 44. Chords with a Diminished Third or Hidden Augmented Sixth 61 45. The Flat Second and Sixth Steps 61", "original": "Section Page 29. Altered Chords 39 30. The Supertonic Seventh with Sharp Third 39 31. Other Altered Steps 40 32. Apparent and Real Modulations 41 33. Consecutive Dominant Sevenths 44 34. Enharmonics 44 35. Modulation through the Six-Four 49 36. Assumption of Key 49 37. Incomplete Modulation 50 38. The Deceptive Resolution 51 39. Passing Diminished Seventh Chords 52 40. The Diminished Seventh on the Raised Fourth Step 54 41. Secondary Seventh Chords in General 54 42. The Augmented Sixth Chords 56 43. Modulation down a Minor Second by an Augmented Chord 59 44. Chords with a Diminished Third or Hidden Augmented Sixth 61 45. The Flat Second and Sixth Steps 61", "tables": { "en": { "columns": [ "Section", "", "Page" ], "rows": [ [ "29.", "Altered Chords", "39" ], [ "30.", "The Supertonic Seventh with Sharp Third", "39" ], [ "31.", "Other Altered Steps", "40" ], [ "32.", "Apparent and Real Modulations", "41" ], [ "33.", "Consecutive Dominant Sevenths", "44" ], [ "34.", "Enharmonics", "44" ], [ "35.", "Modulation through the Six-Four", "49" ], [ "36.", "Assumption of Key", "49" ], [ "37.", "Incomplete Modulation", "50" ], [ "38.", "The Deceptive Resolution", "51" ], [ "39.", "Passing Diminished Seventh Chords", "52" ], [ "40.", "The Diminished Seventh on the Raised Fourth Step", "54" ], [ "41.", "Secondary Seventh Chords in General", "54" ], [ "42.", "The Augmented Sixth Chords", "56" ], [ "43.", "Modulation down a Minor Second by an Augmented Chord", "59" ], [ "44.", "Chords with a Diminished Third or Hidden Augmented Sixth", "61" ], [ "45.", "The Flat Second and Sixth Steps", "61" ] ] } }, "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "x" } ], "reading_order": 30 }, { "id": "cutter-p013-2c", "type": "caption", "english": "PART THREE. MODULATION IN GENERAL, THE ALTERED CHORDS, ETC.", "original": "PART THREE. MODULATION IN GENERAL, THE ALTERED CHORDS, ETC.", "sources": [ { "pdf_page": 13, "source_image": "source-pages/p-013.jpg", "printed_label": "x" } ], "reading_order": 31 }, { "id": "cutter-p014-1", "type": "paragraph", "english": "Section Page 46. The Flat Seventh Step 62 47. Embellishment of the Tonic Six-Four in a Cadence 63 48. Consecutive Tonics 64 49. Chromatic Passing Chords and Passing Sequential Figures 65 50. The Sequence 68 51. Two Simultaneous Harmonies 71 52. The Skip Resolution 73 53. The Church Modes, and Unusual Cadences 75 54. Two-part Writing 76 55. One-part Writing and the Cadenza 77 56. Reduction (continued); its Application in Memorizing and in Sight Playing 80 57. Full Table of Signs 88 58. Special Remarks to the Teacher 89", "original": "Section Page 46. The Flat Seventh Step 62 47. Embellishment of the Tonic Six-Four in a Cadence 63 48. Consecutive Tonics 64 49. Chromatic Passing Chords and Passing Sequential Figures 65 50. The Sequence 68 51. Two Simultaneous Harmonies 71 52. The Skip Resolution 73 53. The Church Modes, and Unusual Cadences 75 54. Two-part Writing 76 55. One-part Writing and the Cadenza 77 56. Reduction (continued); its Application in Memorizing and in Sight Playing 80 57. Full Table of Signs 88 58. Special Remarks to the Teacher 89", "tables": { "en": { "columns": [ "Section", "", "Page" ], "rows": [ [ "46.", "The Flat Seventh Step", "62" ], [ "47.", "Embellishment of the Tonic Six-Four in a Cadence", "63" ], [ "48.", "Consecutive Tonics", "64" ], [ "49.", "Chromatic Passing Chords and Passing Sequential Figures", "65" ], [ "50.", "The Sequence", "68" ], [ "51.", "Two Simultaneous Harmonies", "71" ], [ "52.", "The Skip Resolution", "73" ], [ "53.", "The Church Modes, and Unusual Cadences", "75" ], [ "54.", "Two-part Writing", "76" ], [ "55.", "One-part Writing and the Cadenza", "77" ], [ "56.", "Reduction (continued); its Application in Memorizing and in Sight Playing", "80" ], [ "57.", "Full Table of Signs", "88" ], [ "58.", "Special Remarks to the Teacher", "89" ] ] } }, "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "xi" } ], "reading_order": 32 }, { "id": "cutter-p014-2", "type": "paragraph", "english": "Section Page 59. General Exercises 91 60. Conclusion 111", "original": "Section Page 59. General Exercises 91 60. Conclusion 111", "tables": { "en": { "columns": [ "Section", "", "Page" ], "rows": [ [ "59.", "General Exercises", "91" ], [ "60.", "Conclusion", "111" ] ] } }, "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "xi" } ], "reading_order": 33 }, { "id": "cutter-p014-2c", "type": "caption", "english": "PART FOUR.", "original": "PART FOUR.", "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "xi" } ], "reading_order": 34 }, { "id": "cutter-p014-3", "type": "paragraph", "english": " Page Ten Fragments of Various Natures, carefully analyzed and discussed 113", "original": " Page Ten Fragments of Various Natures, carefully analyzed and discussed 113", "tables": { "en": { "columns": [ "", "Page" ], "rows": [ [ "Ten Fragments of Various Natures, carefully analyzed and discussed", "113" ] ] } }, "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "xi" } ], "reading_order": 35 }, { "id": "cutter-p014-3c", "type": "caption", "english": "APPENDIX.", "original": "APPENDIX.", "sources": [ { "pdf_page": 14, "source_image": "source-pages/p-014.jpg", "printed_label": "xi" } ], "reading_order": 36 }, { "id": "cutter-p016-1", "type": "heading", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "heading_level": 2, "english": "PART ONE. INTRODUCTORY.", "original": "PART ONE. INTRODUCTORY.", "reading_order": 37 }, { "id": "cutter-p016-2", "type": "heading", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "heading_level": 3, "english": "Section 1. Definition.", "original": "Section 1. Definition.", "reading_order": 38 }, { "id": "cutter-p016-3", "type": "paragraph", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "english": "Harmonic Analysis is the art of accounting for the various chords and foreign tones which make up the harmonic structure.", "original": "Harmonic Analysis is the art of accounting for the various chords and foreign tones which make up the harmonic structure.", "reading_order": 39 }, { "id": "cutter-p016-4", "type": "heading", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "heading_level": 3, "english": "Section 2. Requirements.", "original": "Section 2. Requirements.", "reading_order": 40 }, { "id": "cutter-p016-5", "type": "paragraph", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "english": "To carry on the study of Harmonic Analysis successfully, the student must have learned enough harmony to be able to write exercises employing all the chords of three and four tones, and to modulate on paper, and, if possible, at the keyboard. It will indeed be found better if the whole course in harmony be finished before taking up this study. In this event the object for which this book was written will be best and most easily realized.", "original": "To carry on the study of Harmonic Analysis successfully, the student must have learned enough harmony to be able to write exercises employing all the chords of three and four tones, and to modulate on paper, and, if possible, at the keyboard. It will indeed be found better if the whole course in harmony be finished before taking up this study. In this event the object for which this book was written will be best and most easily realized.", "reading_order": 41 }, { "id": "cutter-p016-6", "type": "heading", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "heading_level": 3, "english": "Section 3. On Progressions in General.", "original": "Section 3. On Progressions in General.", "reading_order": 42 }, { "id": "cutter-p016-7", "type": "paragraph", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 } ], "english": "Harmonic Progressions may be summed up briefly as follows: those of the Fifth-Relationships, up or down—V, I; I, IV; ii, vi, etc.; those of the Third-Relationships up or down—V, iii; I, vi; ii, IV, etc.; and those of the Second-Relationships, up or down—I, ii; V, vi; vi, V, etc.", "original": "Harmonic Progressions may be summed up briefly as follows: those of the Fifth-Relationships, up or down—V, I; I, IV; ii, vi, etc.; those of the Third-Relationships up or down—V, iii; I, vi; ii, IV, etc.; and those of the Second-Relationships, up or down—I, ii; V, vi; vi, V, etc.", "reading_order": 43 }, { "id": "cutter-p016-8", "type": "paragraph", "sources": [ { "pdf_page": 16, "source_image": "source-pages/p-016.jpg", "printed_page": 1 }, { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 } ], "english": "All harmony is composed of the elements of unrest and rest, of the progression of a chord more or less dissonant into a consonance, or into one or more successive dissonances before its final resolution—or, the reverse of this. To these two sound phenomena are attached physical and psychical impressions which, although they exist and are recognized, seem to defy a final analysis and to remain beyond satisfactory examination and explanation. These two elements, of rest and of unrest, repeated over and over, with manifold embellishment, constitute Music. In that form of the Fifth-Relationship in which the root falls, is found the most natural resolution or progression of any chord. Thus, the iii goes to the vi, the vi to the ii, the ii to the V, the V to the I, in both major and minor, and the nearer the progression approaches the tonic harmony, the more gratifying and reposeful the effect. Hence the name, Normal Progression, sometimes applied to this peculiar succession. To modify any of these chord successions by the addition of a seventh to the first chord—as I7 IV, or ii7 V—or by the chromatic alteration of the first chord, only heightens the effect; and this effect, to repeat, is the impression of rest, of satisfaction, more or less complete.", "original": "All harmony is composed of the elements of unrest and rest, of the progression of a chord more or less dissonant into a consonance, or into one or more successive dissonances before its final resolution—or, the reverse of this. To these two sound phenomena are attached physical and psychical impressions which, although they exist and are recognized, seem to defy a final analysis and to remain beyond satisfactory examination and explanation. These two elements, of rest and of unrest, repeated over and over, with manifold embellishment, constitute Music. In that form of the Fifth-Relationship in which the root falls, is found the most natural resolution or progression of any chord. Thus, the iii goes to the vi, the vi to the ii, the ii to the V, the V to the I, in both major and minor, and the nearer the progression approaches the tonic harmony, the more gratifying and reposeful the effect. Hence the name, Normal Progression, sometimes applied to this peculiar succession. To modify any of these chord successions by the addition of a seventh to the first chord—as I7 IV, or ii7 V—or by the chromatic alteration of the first chord, only heightens the effect; and this effect, to repeat, is the impression of rest, of satisfaction, more or less complete.", "reading_order": 44 }, { "id": "cutter-p017-2", "type": "paragraph", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 } ], "english": "All other progressions, especially if they employ the secondary triads, have in them, in varying degrees, the element of suspense, of unrest; of motion, if we may say so. Their use in certain schools of composition is infrequent; in other schools, especially in the form of the Second-Relationships, they are very common. Still, startling and interesting as may be many of these progressions above mentioned, the student will find that the I, IV, V, and ii in the Fifth and in the Second-Relationships, form the stock in trade of the composer and the material which in Analysis he will have most often to consider.", "original": "All other progressions, especially if they employ the secondary triads, have in them, in varying degrees, the element of suspense, of unrest; of motion, if we may say so. Their use in certain schools of composition is infrequent; in other schools, especially in the form of the Second-Relationships, they are very common. Still, startling and interesting as may be many of these progressions above mentioned, the student will find that the I, IV, V, and ii in the Fifth and in the Second-Relationships, form the stock in trade of the composer and the material which in Analysis he will have most often to consider.", "reading_order": 45 }, { "id": "cutter-p017-3", "type": "heading", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 } ], "heading_level": 3, "english": "Section 4. Plan of Study.", "original": "Section 4. Plan of Study.", "reading_order": 46 }, { "id": "cutter-p017-4", "type": "paragraph", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 } ], "english": "In pursuing this course the student is expected to examine carefully the examples given, with due reference to the text; and, in working out the lessons, to indicate by the proper signs the keys as they occur, and the nature—place in the scale, and inversion—of each and every chord; and to give to each foreign tone its own distinctive mark. Also, where required, he is to reduce the tone structure to its essentials, one of the most valuable of exercises, directions for so doing being given at the proper place. To sum up: He is to account for each and every tone, whatever its duration or location. All lessons, unless otherwise specified, may be marked in the text-book itself, the signs of expression, etc., having been omitted to make sufficient room.", "original": "In pursuing this course the student is expected to examine carefully the examples given, with due reference to the text; and, in working out the lessons, to indicate by the proper signs the keys as they occur, and the nature—place in the scale, and inversion—of each and every chord; and to give to each foreign tone its own distinctive mark. Also, where required, he is to reduce the tone structure to its essentials, one of the most valuable of exercises, directions for so doing being given at the proper place. To sum up: He is to account for each and every tone, whatever its duration or location. All lessons, unless otherwise specified, may be marked in the text-book itself, the signs of expression, etc., having been omitted to make sufficient room.", "inline": [ { "text": "In pursuing this course the student is expected to examine carefully the examples given, with due reference to the text; and, in working out the lessons, to indicate by the proper signs the keys as they occur, and the nature—place in the scale, and inversion—of each and every chord; and to give to each foreign tone its own distinctive mark. Also, where required, he is to reduce the tone structure to its essentials, one of the most valuable of exercises, directions for so doing being given at the proper place. To sum up: " }, { "text": "He is to account for each and every tone, whatever its duration or location.", "tag": "strong" }, { "text": " All lessons, unless otherwise specified, may be marked in the text-book itself, the signs of expression, etc., having been omitted to make sufficient room." } ], "reading_order": 47 }, { "id": "cutter-p017-5", "type": "heading", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 } ], "heading_level": 3, "english": "Section 5. Remarks to the Teacher.", "original": "Section 5. Remarks to the Teacher.", "reading_order": 48 }, { "id": "cutter-p017-6", "type": "paragraph", "sources": [ { "pdf_page": 17, "source_image": "source-pages/p-017.jpg", "printed_page": 2 }, { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 } ], "english": "This course should be taught at the keyboard, the scholars reading the figurings in turn, or, in a doubtful case, the opinion of the whole class being found before a decision is made. Any tendency toward superficiality which this method would seem to favor, may be offset by written examinations in which the examined must know—or fail! The class should enjoy the benefit of general discussion, and scholars should be led to argue for their figurings. But beware of narrow interpretations, of intolerant views; many phrases permit more than one solution.", "original": "This course should be taught at the keyboard, the scholars reading the figurings in turn, or, in a doubtful case, the opinion of the whole class being found before a decision is made. Any tendency toward superficiality which this method would seem to favor, may be offset by written examinations in which the examined must know—or fail! The class should enjoy the benefit of general discussion, and scholars should be led to argue for their figurings. But beware of narrow interpretations, of intolerant views; many phrases permit more than one solution.", "inline": [ { "text": "This course should be taught at the keyboard, the scholars reading the figurings in turn, or, in a doubtful case, the opinion of the whole class being found before a decision is made. Any tendency toward superficiality which this method would seem to favor, may be offset by written examinations in which the examined must " }, { "text": "know—or fail!", "tag": "em" }, { "text": " The class should enjoy the benefit of general discussion, and scholars should be led to argue for their figurings. But beware of narrow interpretations, of intolerant views; many phrases permit more than one solution." } ], "reading_order": 49 }, { "id": "cutter-p018-2", "type": "paragraph", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 } ], "english": "The teacher is recommended to teach the pupil to argue backward. A doubtful passage often becomes clear if one looks on and finds the principal point toward which the doubtful passage tends.", "original": "The teacher is recommended to teach the pupil to argue backward. A doubtful passage often becomes clear if one looks on and finds the principal point toward which the doubtful passage tends.", "inline": [ { "text": "The teacher is recommended to teach the pupil to argue backward.", "tag": "strong" }, { "text": " A doubtful passage often becomes clear if one looks on and finds the principal point toward which the doubtful passage tends." } ], "reading_order": 50 }, { "id": "cutter-p018-3", "type": "paragraph", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 } ], "english": "Furthermore, to each section, beginning with Section 14, has been added a set of References. These the student will do well to look up. For, unless he have studied Composition and thus gone far beyond the bounds of the Harmony Course, it cannot be possible to make him ready and expert by the use of this book alone; and so large is the field to be covered that a fair canvass of it, such as has been attempted here, fills out the bounds of an ordinary sized text-book. More material is thus necessary—as any one versed in teaching can see. And, lastly, he who studies by himself, by looking up these references and marking them, can give himself a liberal education in Analysis—and for him were they first designed.", "original": "Furthermore, to each section, beginning with Section 14, has been added a set of References. These the student will do well to look up. For, unless he have studied Composition and thus gone far beyond the bounds of the Harmony Course, it cannot be possible to make him ready and expert by the use of this book alone; and so large is the field to be covered that a fair canvass of it, such as has been attempted here, fills out the bounds of an ordinary sized text-book. More material is thus necessary—as any one versed in teaching can see. And, lastly, he who studies by himself, by looking up these references and marking them, can give himself a liberal education in Analysis—and for him were they first designed.", "reading_order": 51 }, { "id": "cutter-p018-4", "type": "paragraph", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 } ], "english": "We have drawn from the following material: Beethoven, the first Piano Sonatas; Schumann, Album for the Young, Op. 68; Bizet, L’Arlésienne, Suites I and II; Chopin, Preludes—which we would advise the student to consult constantly; also, Czerny, Op. 299; Cramer, Fifty Selected Studies (von Bülow); Chopin, Nocturnes and Polonaises; Schumann, Davidsbündler, Op. 6, and Fantasiestücke, Op. 12; Grieg, Poetic Tone Pictures, Op. 3, Humoresques, Op. 6, Lyric Pieces, Op. 12; and, lastly, and of much importance to him who has patience to examine them, Wagner’s Tannhäuser and The Flying Dutchman (Novello Edition).", "original": "We have drawn from the following material: Beethoven, the first Piano Sonatas; Schumann, Album for the Young, Op. 68; Bizet, L’Arlésienne, Suites I and II; Chopin, Preludes—which we would advise the student to consult constantly; also, Czerny, Op. 299; Cramer, Fifty Selected Studies (von Bülow); Chopin, Nocturnes and Polonaises; Schumann, Davidsbündler, Op. 6, and Fantasiestücke, Op. 12; Grieg, Poetic Tone Pictures, Op. 3, Humoresques, Op. 6, Lyric Pieces, Op. 12; and, lastly, and of much importance to him who has patience to examine them, Wagner’s Tannhäuser and The Flying Dutchman (Novello Edition).", "inline": [ { "text": "We have drawn from the following material: Beethoven, the first " }, { "text": "Piano Sonatas", "tag": "em" }, { "text": "; Schumann, " }, { "text": "Album for the Young", "tag": "em" }, { "text": ", Op. 68; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suites I and II; Chopin, " }, { "text": "Preludes", "tag": "em" }, { "text": "—which we would advise the student to consult constantly; also, Czerny, Op. 299; Cramer, " }, { "text": "Fifty Selected Studies", "tag": "em" }, { "text": " (von Bülow); Chopin, " }, { "text": "Nocturnes", "tag": "em" }, { "text": " and " }, { "text": "Polonaises", "tag": "em" }, { "text": "; Schumann, " }, { "text": "Davidsbündler", "tag": "em" }, { "text": ", Op. 6, and " }, { "text": "Fantasiestücke", "tag": "em" }, { "text": ", Op. 12; Grieg, " }, { "text": "Poetic Tone Pictures", "tag": "em" }, { "text": ", Op. 3, " }, { "text": "Humoresques", "tag": "em" }, { "text": ", Op. 6, " }, { "text": "Lyric Pieces", "tag": "em" }, { "text": ", Op. 12; and, lastly, and of much importance to him who has patience to examine them, Wagner’s " }, { "text": "Tannhäuser", "tag": "em" }, { "text": " and " }, { "text": "The Flying Dutchman", "tag": "em" }, { "text": " (Novello Edition)." } ], "reading_order": 52 }, { "id": "cutter-p018-5", "type": "paragraph", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 } ], "english": "An explanation of the figures used in making these References will be found in Section 16.", "original": "An explanation of the figures used in making these References will be found in Section 16.", "reading_order": 53 }, { "id": "cutter-p018-6", "type": "heading", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 } ], "heading_level": 3, "english": "Section 6. Signs Used in Marking.", "original": "Section 6. Signs Used in Marking.", "reading_order": 54 }, { "id": "cutter-p018-7", "type": "paragraph", "sources": [ { "pdf_page": 18, "source_image": "source-pages/p-018.jpg", "printed_page": 3 }, { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "A capital letter shows a major key; a small letter shows a minor key; a large Roman numeral a major triad and a small Roman numeral a minor triad; the sign + shows the augmentation, and the sign ° the diminution, of a triad.", "original": "A capital letter shows a major key; a small letter shows a minor key; a large Roman numeral a major triad and a small Roman numeral a minor triad; the sign + shows the augmentation, and the sign ° the diminution, of a triad.", "reading_order": 55 }, { "id": "cutter-p019-2", "type": "paragraph", "english": "Triads in major. Triads in minor. I i ii ii° iii III+ IV iv V V vi VI vii° vii°", "original": "Triads in major. Triads in minor. I i ii ii° iii III+ IV iv V V vi VI vii° vii°", "tables": { "en": { "columns": [ "Triads in major.", "Triads in minor." ], "rows": [ [ "I", "i" ], [ "ii", "ii°" ], [ "iii", "III+" ], [ "IV", "iv" ], [ "V", "V" ], [ "vi", "VI" ], [ "vii°", "vii°" ] ] } }, "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "reading_order": 56 }, { "id": "cutter-p019-3", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "The inversions of triads and of seventh chords, both principal and secondary, will be indicated by the customary figurings: 6, 6/4, 6/5, 4/3, 4/2, attached to the respective Roman numerals. Or, the letters, a, b, c, d, meaning root-form, first, second, and third inversions, may be used with these same numerals. Thus: Ia, Ib, Ic, ii°⁷a, ii°⁷b, ii°⁷c, IV+b, iii⁷c, etc. The diminished seventh chord, in its various forms, will be marked: vii°7°, vii°6/5, vii°4/3, vii°4/2,—or vii°⁷°a, vii°⁷°b, vii°⁷°c, vii°⁷°d.", "original": "The inversions of triads and of seventh chords, both principal and secondary, will be indicated by the customary figurings: 6, 6/4, 6/5, 4/3, 4/2, attached to the respective Roman numerals. Or, the letters, a, b, c, d, meaning root-form, first, second, and third inversions, may be used with these same numerals. Thus: Ia, Ib, Ic, ii°⁷a, ii°⁷b, ii°⁷c, IV+b, iii⁷c, etc. The diminished seventh chord, in its various forms, will be marked: vii°7°, vii°6/5, vii°4/3, vii°4/2,—or vii°⁷°a, vii°⁷°b, vii°⁷°c, vii°⁷°d.", "inline": [ { "text": "The inversions of triads and of seventh chords, both principal and secondary, will be indicated by the customary figurings: 6, 6/4, 6/5, 4/3, 4/2, attached to the respective Roman numerals. Or, the letters, " }, { "text": "a", "tag": "em" }, { "text": ", " }, { "text": "b", "tag": "em" }, { "text": ", " }, { "text": "c", "tag": "em" }, { "text": ", " }, { "text": "d", "tag": "em" }, { "text": ", meaning root-form, first, second, and third inversions, may be used with these same numerals. Thus: Ia, Ib, Ic, ii°⁷a, ii°⁷b, ii°⁷c, IV+b, iii⁷c, etc. The diminished seventh chord, in its various forms, will be marked: vii°7°, vii°6/5, vii°4/3, vii°4/2,—or vii°⁷°a, vii°⁷°b, vii°⁷°c, vii°⁷°d." } ], "reading_order": 57 }, { "id": "cutter-p019-4", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "asset_refs": [ "fig-019-1" ], "reading_order": 58 }, { "id": "cutter-p019-5", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "Chromatic alterations will be discussed in their proper place.", "original": "Chromatic alterations will be discussed in their proper place.", "reading_order": 59 }, { "id": "cutter-p019-6", "type": "heading", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "heading_level": 3, "english": "Section 7. Principles of Analysis. (Preliminary Statement.)", "original": "Section 7. Principles of Analysis. (Preliminary Statement.)", "reading_order": 60 }, { "id": "cutter-p019-7", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "No. 1. Spell each chord accurately.", "original": "No. 1. Spell each chord accurately.", "inline": [ { "text": "No. 1. " }, { "text": "Spell each chord accurately.", "tag": "strong" } ], "reading_order": 61 }, { "id": "cutter-p019-8", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "F♯ has one significance, F another. An analysis may be made incorrect by carelessly calling F♯, F. Too great stress cannot be laid on this point.", "original": "F♯ has one significance, F another. An analysis may be made incorrect by carelessly calling F♯, F. Too great stress cannot be laid on this point.", "reading_order": 62 }, { "id": "cutter-p019-9", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "No. 2. Build up the chords in thirds.", "original": "No. 2. Build up the chords in thirds.", "inline": [ { "text": "No. 2. " }, { "text": "Build up the chords in thirds.", "tag": "strong" } ], "reading_order": 63 }, { "id": "cutter-p019-10", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "Seize that interval most apparent, third or fifth, and build from it in thirds until the whole chord be found.", "original": "Seize that interval most apparent, third or fifth, and build from it in thirds until the whole chord be found.", "reading_order": 64 }, { "id": "cutter-p019-11", "type": "heading", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "heading_level": 3, "english": "Section 8. Triads and Seventh Chords. (No Modulations.)", "original": "Section 8. Triads and Seventh Chords. (No Modulations.)", "reading_order": 65 }, { "id": "cutter-p019-12", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "Write the numerals and the signs of inversion.", "original": "Write the numerals and the signs of inversion.", "inline": [ { "text": "Write the numerals and the signs of inversion.", "tag": "strong" } ], "reading_order": 66 }, { "id": "cutter-p019-13", "type": "paragraph", "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "english": "(It has been found impossible to divide this book into lessons, as is done in most text-books, and the plan has been followed of numbering the exercises and examples straight through. The amount of work to be assigned to a pupil is thus left to the decision of the teacher.)", "original": "(It has been found impossible to divide this book into lessons, as is done in most text-books, and the plan has been followed of numbering the exercises and examples straight through. The amount of work to be assigned to a pupil is thus left to the decision of the teacher.)", "reading_order": 67 }, { "id": "cutter-p020-1c", "type": "caption", "english": "Ex. 1 · Exercise 1. Marked Example.", "original": "Ex. 1 · Exercise 1. Marked Example.", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "reading_order": 68 }, { "id": "cutter-p020-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "asset_refs": [ "ex-001" ], "reading_order": 69 }, { "id": "cutter-p020-2c", "type": "caption", "english": "Ex. 2", "original": "Ex. 2", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "reading_order": 70 }, { "id": "cutter-p020-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "asset_refs": [ "ex-002" ], "reading_order": 71 }, { "id": "cutter-p020-3c", "type": "caption", "english": "Ex. 3", "original": "Ex. 3", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "reading_order": 72 }, { "id": "cutter-p020-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "asset_refs": [ "ex-003" ], "reading_order": 73 }, { "id": "cutter-p021-1c", "type": "caption", "english": "Ex. 4", "original": "Ex. 4", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "reading_order": 74 }, { "id": "cutter-p021-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "asset_refs": [ "ex-004" ], "reading_order": 75 }, { "id": "cutter-p021-2c", "type": "caption", "english": "Ex. 5", "original": "Ex. 5", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "reading_order": 76 }, { "id": "cutter-p021-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "asset_refs": [ "ex-005" ], "reading_order": 77 }, { "id": "cutter-p021-3c", "type": "caption", "english": "Ex. 6", "original": "Ex. 6", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "reading_order": 78 }, { "id": "cutter-p021-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "asset_refs": [ "ex-006" ], "reading_order": 79 }, { "id": "cutter-p021-4c", "type": "caption", "english": "Ex. 7", "original": "Ex. 7", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "reading_order": 80 }, { "id": "cutter-p021-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "asset_refs": [ "ex-007" ], "reading_order": 81 }, { "id": "cutter-p022-1c", "type": "caption", "english": "Ex. 8", "original": "Ex. 8", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "reading_order": 82 }, { "id": "cutter-p022-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "asset_refs": [ "ex-008" ], "reading_order": 83 }, { "id": "cutter-p022-2c", "type": "caption", "english": "Ex. 9", "original": "Ex. 9", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "reading_order": 84 }, { "id": "cutter-p022-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "asset_refs": [ "ex-009" ], "reading_order": 85 }, { "id": "cutter-p022-3c", "type": "caption", "english": "Ex. 10", "original": "Ex. 10", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "reading_order": 86 }, { "id": "cutter-p022-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "asset_refs": [ "ex-010" ], "reading_order": 87 }, { "id": "cutter-p022-4c", "type": "caption", "english": "Ex. 11", "original": "Ex. 11", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "reading_order": 88 }, { "id": "cutter-p022-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "asset_refs": [ "ex-011" ], "reading_order": 89 }, { "id": "cutter-p023-2", "type": "heading", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_page": 8 } ], "heading_level": 3, "english": "Section 9. The Broken Chord.", "original": "Section 9. The Broken Chord.", "reading_order": 90 }, { "id": "cutter-p023-3", "type": "paragraph", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_page": 8 } ], "english": "All music is derived from the scale and the chord, the latter element predominating. The chord may be plain, all its tones sounding simultaneously, or broken in the many forms of the arpeggio; that is, its members may be sounded one after the other in a great variety of order. For instance, the chord structure given below may be broken in the following and in other ways without making a change of chord.", "original": "All music is derived from the scale and the chord, the latter element predominating. The chord may be plain, all its tones sounding simultaneously, or broken in the many forms of the arpeggio; that is, its members may be sounded one after the other in a great variety of order. For instance, the chord structure given below may be broken in the following and in other ways without making a change of chord.", "inline": [ { "text": "All music is derived from the scale and the chord, the latter element predominating. The chord may be " }, { "text": "plain", "tag": "strong" }, { "text": ", all its tones sounding simultaneously, or " }, { "text": "broken", "tag": "strong" }, { "text": " in the many forms of the arpeggio; that is, its members may be sounded one after the other in a great variety of order. For instance, the chord structure given below may be broken in the following and in other ways without making a change of chord." } ], "reading_order": 91 }, { "id": "cutter-p023-4c", "type": "caption", "english": "Ex. 12", "original": "Ex. 12", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_page": 8 } ], "reading_order": 92 }, { "id": "cutter-p023-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_page": 8 } ], "asset_refs": [ "ex-012" ], "reading_order": 93 }, { "id": "cutter-p024-1", "type": "heading", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "heading_level": 3, "english": "Section 10. Reduction.", "original": "Section 10. Reduction.", "reading_order": 94 }, { "id": "cutter-p024-2", "type": "paragraph", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "english": "It will be observed that Examples e and f show a compass greater than that of the primary chord form; which leads to the General Statement, that All broken chords may be reduced, with the voices which accompany them, if there be such, to a simple four-part structure. In making such a Reduction, so-called, the extreme notes of the florid phrase must be brought into proper vocal compass, after which the inner parts may be added.", "original": "It will be observed that Examples e and f show a compass greater than that of the primary chord form; which leads to the General Statement, that All broken chords may be reduced, with the voices which accompany them, if there be such, to a simple four-part structure. In making such a Reduction, so-called, the extreme notes of the florid phrase must be brought into proper vocal compass, after which the inner parts may be added.", "inline": [ { "text": "It will be observed that Examples " }, { "text": "e", "tag": "em" }, { "text": " and " }, { "text": "f", "tag": "em" }, { "text": " show a compass greater than that of the primary chord form; which leads to the General Statement, that " }, { "text": "All broken chords may be reduced, with the voices which accompany them, if there be such, to a simple four-part structure.", "tag": "strong" }, { "text": " In making such a " }, { "text": "Reduction", "tag": "strong" }, { "text": ", so-called, the extreme notes of the florid phrase must be brought into proper vocal compass, after which the inner parts may be added." } ], "reading_order": 95 }, { "id": "cutter-p024-3", "type": "paragraph", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "english": "Mark each chord with its key and numeral, and in the case of an extended broken chord indicate by small notes the Reduction to the primary chord form.", "original": "Mark each chord with its key and numeral, and in the case of an extended broken chord indicate by small notes the Reduction to the primary chord form.", "inline": [ { "text": "Mark each chord with its key and numeral, and in the case of an extended broken chord indicate by small notes the Reduction to the primary chord form.", "tag": "strong" } ], "reading_order": 96 }, { "id": "cutter-p024-4c", "type": "caption", "english": "Ex. 13 · Allegro. Wagner, Tannhäuser.", "original": "Ex. 13 · Allegro. Wagner, Tannhäuser.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "reading_order": 97 }, { "id": "cutter-p024-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "asset_refs": [ "ex-013" ], "reading_order": 98 }, { "id": "cutter-p024-5c", "type": "caption", "english": "Ex. 14 · Vivace. Beethoven, Op. 109.", "original": "Ex. 14 · Vivace. Beethoven, Op. 109.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "reading_order": 99 }, { "id": "cutter-p024-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "asset_refs": [ "ex-014" ], "reading_order": 100 }, { "id": "cutter-p024-6c", "type": "caption", "english": "Ex. 15 · Allegro. Beethoven, Op. 28.", "original": "Ex. 15 · Allegro. Beethoven, Op. 28.", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "reading_order": 101 }, { "id": "cutter-p024-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "asset_refs": [ "ex-015" ], "reading_order": 102 }, { "id": "cutter-p025-2c", "type": "caption", "english": "Ex. 16 · Presto agitato. Beethoven, Op. 27.", "original": "Ex. 16 · Presto agitato. Beethoven, Op. 27.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "reading_order": 103 }, { "id": "cutter-p025-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "asset_refs": [ "ex-016" ], "reading_order": 104 }, { "id": "cutter-p025-3", "type": "footnote", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "english": "* The first and the last soprano note of each two-measure section define the upper voice in this case; No. 17 is different.", "original": "* The first and the last soprano note of each two-measure section define the upper voice in this case; No. 17 is different.", "reading_order": 105 }, { "id": "cutter-p025-4c", "type": "caption", "english": "Ex. 17 · Allegro con brio. Beethoven, Op. 3.", "original": "Ex. 17 · Allegro con brio. Beethoven, Op. 3.", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "reading_order": 106 }, { "id": "cutter-p025-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "asset_refs": [ "ex-017" ], "reading_order": 107 }, { "id": "cutter-p025-5", "type": "heading", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "heading_level": 3, "english": "Section 11. The Broken Chord, the Appoggiatura, the Passing Tone, and the Embellishment.", "original": "Section 11. The Broken Chord, the Appoggiatura, the Passing Tone, and the Embellishment.", "reading_order": 108 }, { "id": "cutter-p025-6", "type": "paragraph", "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 }, { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 } ], "english": "The tones of a broken chord may be preceded, all or some of them, by tones foreign to the chord. The most common of these foreign tones are those mentioned in the above heading.", "original": "The tones of a broken chord may be preceded, all or some of them, by tones foreign to the chord. The most common of these foreign tones are those mentioned in the above heading.", "reading_order": 109 }, { "id": "cutter-p026-2", "type": "paragraph", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 } ], "english": "The Appoggiatura is a foreign tone which enters by a skip. A skip is any interval greater than a major second. The Appoggiatura may enter from above or below, and must move a second, major or minor, up or down. In its simplest form—that here given—it moves into a chord tone, and may have any time value, long or short, and may be on or off the accent. Other varieties will be explained later.", "original": "The Appoggiatura is a foreign tone which enters by a skip. A skip is any interval greater than a major second. The Appoggiatura may enter from above or below, and must move a second, major or minor, up or down. In its simplest form—that here given—it moves into a chord tone, and may have any time value, long or short, and may be on or off the accent. Other varieties will be explained later.", "inline": [ { "text": "The Appoggiatura is a foreign tone which enters by a skip.", "tag": "strong" }, { "text": " A skip is any interval greater than a major second. The Appoggiatura may enter from above or below, and must move a second, major or minor, up or down. In its simplest form—that here given—it moves into a chord tone, and may have any time value, long or short, and may be on or off the accent. Other varieties will be explained later." } ], "reading_order": 110 }, { "id": "cutter-p026-3", "type": "paragraph", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 } ], "english": "Sign: App.", "original": "Sign: App.", "reading_order": 111 }, { "id": "cutter-p026-4c", "type": "caption", "english": "Ex. 18 · Model. Vivace. Beethoven, Variation.", "original": "Ex. 18 · Model. Vivace. Beethoven, Variation.", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 } ], "reading_order": 112 }, { "id": "cutter-p026-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 } ], "asset_refs": [ "ex-018" ], "reading_order": 113 }, { "id": "cutter-p026-5", "type": "paragraph", "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 }, { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "english": "The Passing Tone is a foreign tone which stands between two chord tones. These two tones may belong to one and the same, or to two different chords, and the Passing Tone may be diatonic or chromatic, accented or not. The interval to be filled out may be a second, a third, or even a fourth; in the last case more than one diatonic Passing Tone will be required. Other conditions will be discussed later. The examples here given will show the Passing Tone used in connection with one chord only.", "original": "The Passing Tone is a foreign tone which stands between two chord tones. These two tones may belong to one and the same, or to two different chords, and the Passing Tone may be diatonic or chromatic, accented or not. The interval to be filled out may be a second, a third, or even a fourth; in the last case more than one diatonic Passing Tone will be required. Other conditions will be discussed later. The examples here given will show the Passing Tone used in connection with one chord only.", "inline": [ { "text": "The Passing Tone is a foreign tone which stands between two chord tones.", "tag": "strong" }, { "text": " These two tones may belong to one and the same, or to two different chords, and the Passing Tone may be diatonic or chromatic, accented or not. The interval to be filled out may be a second, a third, or even a fourth; in the last case more than one diatonic Passing Tone will be required. Other conditions will be discussed later. " }, { "text": "The examples here given will show the Passing Tone used in connection with one chord only.", "tag": "strong" } ], "reading_order": 114 }, { "id": "cutter-p027-2", "type": "paragraph", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "english": "Signs: Accented Passing Tone, O; Unaccented Passing Tone, +.", "original": "Signs: Accented Passing Tone, O; Unaccented Passing Tone, +.", "reading_order": 115 }, { "id": "cutter-p027-3c", "type": "caption", "english": "Ex. 19 · Model. Allegretto. B. Cutter, Verset.", "original": "Ex. 19 · Model. Allegretto. B. Cutter, Verset.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "reading_order": 116 }, { "id": "cutter-p027-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "asset_refs": [ "ex-019" ], "reading_order": 117 }, { "id": "cutter-p027-4", "type": "paragraph", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "english": "The Embellishment is the upper or lower neighbor of a chord tone, and proceeds from its principal, or harmonic, tone, and returns to this harmonic tone. The Embellishment may move a major or a minor second.", "original": "The Embellishment is the upper or lower neighbor of a chord tone, and proceeds from its principal, or harmonic, tone, and returns to this harmonic tone. The Embellishment may move a major or a minor second.", "inline": [ { "text": "The Embellishment is the upper or lower neighbor of a chord tone", "tag": "strong" }, { "text": ", and proceeds from its principal, or harmonic, tone, and returns to this harmonic tone. The Embellishment may move a major or a minor second." } ], "reading_order": 118 }, { "id": "cutter-p027-5", "type": "paragraph", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "english": "Sign: E.", "original": "Sign: E.", "reading_order": 119 }, { "id": "cutter-p027-6c", "type": "caption", "english": "Ex. 20 · Model. Con moto. B. Cutter, Etude.", "original": "Ex. 20 · Model. Con moto. B. Cutter, Etude.", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "reading_order": 120 }, { "id": "cutter-p027-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "asset_refs": [ "ex-020" ], "reading_order": 121 }, { "id": "cutter-p028-1", "type": "paragraph", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "english": "Mark first the chords in an example, then the foreign tones.", "original": "Mark first the chords in an example, then the foreign tones.", "inline": [ { "text": "Mark first the chords in an example, then the foreign tones.", "tag": "strong" } ], "reading_order": 122 }, { "id": "cutter-p028-2c", "type": "caption", "english": "Ex. 21 · Assai lento. Chopin, Op. 28.", "original": "Ex. 21 · Assai lento. Chopin, Op. 28.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "reading_order": 123 }, { "id": "cutter-p028-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "asset_refs": [ "ex-021" ], "reading_order": 124 }, { "id": "cutter-p028-3c", "type": "caption", "english": "Ex. 22 · Allegro. Wagner, Tannhäuser.", "original": "Ex. 22 · Allegro. Wagner, Tannhäuser.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "reading_order": 125 }, { "id": "cutter-p028-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "asset_refs": [ "ex-022" ], "reading_order": 126 }, { "id": "cutter-p028-4c", "type": "caption", "english": "Ex. 23 · Cantabile. Schumann, Op. 6.", "original": "Ex. 23 · Cantabile. Schumann, Op. 6.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "reading_order": 127 }, { "id": "cutter-p028-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "asset_refs": [ "ex-023" ], "reading_order": 128 }, { "id": "cutter-p028-5c", "type": "caption", "english": "Ex. 24 · Moderato. Cramer, Study.", "original": "Ex. 24 · Moderato. Cramer, Study.", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "reading_order": 129 }, { "id": "cutter-p028-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "asset_refs": [ "ex-024" ], "reading_order": 130 }, { "id": "cutter-p029-1c", "type": "caption", "english": "Ex. 25 · Presto. Beethoven, Op. 35.", "original": "Ex. 25 · Presto. Beethoven, Op. 35.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 14 } ], "reading_order": 131 }, { "id": "cutter-p029-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 14 } ], "asset_refs": [ "ex-025" ], "reading_order": 132 }, { "id": "cutter-p029-2c", "type": "caption", "english": "Ex. 26 · Allegretto vivace. Beethoven, Op. 35.", "original": "Ex. 26 · Allegretto vivace. Beethoven, Op. 35.", "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 14 } ], "reading_order": 133 }, { "id": "cutter-p029-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 14 } ], "asset_refs": [ "ex-026" ], "reading_order": 134 }, { "id": "cutter-p030-1c", "type": "caption", "english": "Ex. 27 · Allegro. Hummel, Fantaisie.", "original": "Ex. 27 · Allegro. Hummel, Fantaisie.", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 } ], "reading_order": 135 }, { "id": "cutter-p030-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 } ], "asset_refs": [ "ex-027" ], "reading_order": 136 }, { "id": "cutter-p030-2", "type": "footnote", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 } ], "english": "* Free tone.", "original": "* Free tone.", "reading_order": 137 }, { "id": "cutter-p030-3", "type": "heading", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 } ], "heading_level": 3, "english": "Section 12. Modulation.", "original": "Section 12. Modulation.", "reading_order": 138 }, { "id": "cutter-p030-4", "type": "paragraph", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 } ], "english": "Modulation is a change of key. It is made ordinarily by a dominant harmony with its resolution, and, according to the older and some recent text-books, the presence of this progression, whenever it occurs and whatever its effect, constitutes a Modulation. In regard to this matter, however, views have become modified very materially, and the theorists, as in many other things, would seem to be, on the whole, behind the practicists, the composers. Indeed there is ground for belief that from the time of Haydn, perhaps from that of Bach, composers have thought it possible to raise and to lower certain scale steps, and to obtain thus non-modulating chromatic harmonies, which sound like modulations but do not leave the key.", "original": "Modulation is a change of key. It is made ordinarily by a dominant harmony with its resolution, and, according to the older and some recent text-books, the presence of this progression, whenever it occurs and whatever its effect, constitutes a Modulation. In regard to this matter, however, views have become modified very materially, and the theorists, as in many other things, would seem to be, on the whole, behind the practicists, the composers. Indeed there is ground for belief that from the time of Haydn, perhaps from that of Bach, composers have thought it possible to raise and to lower certain scale steps, and to obtain thus non-modulating chromatic harmonies, which sound like modulations but do not leave the key.", "inline": [ { "text": "Modulation", "tag": "strong" }, { "text": " is a change of key. It is made ordinarily by a dominant harmony with its resolution, and, according to the older and some recent text-books, the presence of this progression, whenever it occurs and whatever its effect, constitutes a Modulation. In regard to this matter, however, views have become modified very materially, and the theorists, as in many other things, would seem to be, on the whole, behind the practicists, the composers. Indeed there is ground for belief that from the time of Haydn, perhaps from that of Bach, composers have thought it possible to raise and to lower certain scale steps, and to obtain thus non-modulating chromatic harmonies, which sound like modulations but do not leave the key." } ], "reading_order": 139 }, { "id": "cutter-p030-5", "type": "paragraph", "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 }, { "pdf_page": 31, "source_image": "source-pages/p-031.jpg", "printed_page": 16 } ], "english": "In a piece in C major, for instance, we may find the dominant or diminished seventh of D minor, with its resolution, and this followed by C major chords. Some theorists contend that such a progression is a modulation; that any chord which has the intervals of a dominant seventh, and is properly resolved, is an undoubted dominant. Other theorists contend that a real modulation is made only when the modulatory process is confirmed by a stay in its evident key; that these seeming modulations are only intensifications of triads of the key other than the primary tonic, generally the subordinate triads, accomplished by the use of their seventh chords; and that these chords or progressions in question are only altered chords, or progressions in the primary key, and are to be so marked. They quote that most startling and familiar example—the end of the Lohengrin Prelude, by Wagner—which, while seemingly moving through, or, as they sometimes say, “touching upon” such and such keys, really gives the ear the impression of A major, wonderfully enriched, but A major, all the time; many of them conceding, however, that this is an extreme case. A third party of theorists, acknowledging the difficulties of the matter, holds that while this passage in question may be in A major, to mark the many chromatic harmonies, as chromatic alterations in this key, is to strain the key unwarrantably; they would call each apparent change of key a real change, with a mental reservation as to the correctness of the analysis; would, perhaps, write two figurings, each one tenable, and depending on the point of view.", "original": "In a piece in C major, for instance, we may find the dominant or diminished seventh of D minor, with its resolution, and this followed by C major chords. Some theorists contend that such a progression is a modulation; that any chord which has the intervals of a dominant seventh, and is properly resolved, is an undoubted dominant. Other theorists contend that a real modulation is made only when the modulatory process is confirmed by a stay in its evident key; that these seeming modulations are only intensifications of triads of the key other than the primary tonic, generally the subordinate triads, accomplished by the use of their seventh chords; and that these chords or progressions in question are only altered chords, or progressions in the primary key, and are to be so marked. They quote that most startling and familiar example—the end of the Lohengrin Prelude, by Wagner—which, while seemingly moving through, or, as they sometimes say, “touching upon” such and such keys, really gives the ear the impression of A major, wonderfully enriched, but A major, all the time; many of them conceding, however, that this is an extreme case. A third party of theorists, acknowledging the difficulties of the matter, holds that while this passage in question may be in A major, to mark the many chromatic harmonies, as chromatic alterations in this key, is to strain the key unwarrantably; they would call each apparent change of key a real change, with a mental reservation as to the correctness of the analysis; would, perhaps, write two figurings, each one tenable, and depending on the point of view.", "reading_order": 140 }, { "id": "cutter-p031-2", "type": "paragraph", "sources": [ { "pdf_page": 31, "source_image": "source-pages/p-031.jpg", "printed_page": 16 } ], "english": "In opposition to all this, the old-school men say that the modern ear has heard so many modulations that it has become blunted, dazed; that if the ear were fresher and keener, it would call each progression in question an undoubted change of tonality; and they refer their opponents back to the impressions of youth, when each chord change ravished the auditory nerve, and each seeming shift in the seat of key, however fleeting, was felt as a genuine thing. They say, further, that the short and fleeting modulation, the Digression, so-called, is as much a part of the composer’s stock in trade as that deliberate modulatory procedure in which the forces of the key are drawn up in array.", "original": "In opposition to all this, the old-school men say that the modern ear has heard so many modulations that it has become blunted, dazed; that if the ear were fresher and keener, it would call each progression in question an undoubted change of tonality; and they refer their opponents back to the impressions of youth, when each chord change ravished the auditory nerve, and each seeming shift in the seat of key, however fleeting, was felt as a genuine thing. They say, further, that the short and fleeting modulation, the Digression, so-called, is as much a part of the composer’s stock in trade as that deliberate modulatory procedure in which the forces of the key are drawn up in array.", "reading_order": 141 }, { "id": "cutter-p031-3", "type": "paragraph", "sources": [ { "pdf_page": 31, "source_image": "source-pages/p-031.jpg", "printed_page": 16 }, { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "In this matter it is difficult to lay down a hard and fast rule. In many instances the analyst must use his own judgment, and the ear, which is plainly the last court of appeal, must be called upon to decide. And as ears do not always hear alike, the validity of more than one interpretation, based on the individual point of view, is evident. We would, however, add, that while the theory of altered chords may often be the theory most plausible, cases will occur in which the only satisfactory explanation is that of a sudden and passing but unmistakable change of key.", "original": "In this matter it is difficult to lay down a hard and fast rule. In many instances the analyst must use his own judgment, and the ear, which is plainly the last court of appeal, must be called upon to decide. And as ears do not always hear alike, the validity of more than one interpretation, based on the individual point of view, is evident. We would, however, add, that while the theory of altered chords may often be the theory most plausible, cases will occur in which the only satisfactory explanation is that of a sudden and passing but unmistakable change of key.", "reading_order": 142 }, { "id": "cutter-p032-2", "type": "heading", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "heading_level": 3, "english": "Section 13. Principles of Analysis.", "original": "Section 13. Principles of Analysis.", "reading_order": 143 }, { "id": "cutter-p032-3", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "1. Spell each chord accurately.", "original": "1. Spell each chord accurately.", "inline": [ { "text": "1. " }, { "text": "Spell each chord accurately.", "tag": "strong" } ], "reading_order": 144 }, { "id": "cutter-p032-4", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "F♯ has one harmonic significance, F another. And an analysis may be made incorrect by carelessly calling F♯, F.", "original": "F♯ has one harmonic significance, F another. And an analysis may be made incorrect by carelessly calling F♯, F.", "reading_order": 145 }, { "id": "cutter-p032-5", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "2. Build up chords in thirds.", "original": "2. Build up chords in thirds.", "inline": [ { "text": "2. " }, { "text": "Build up chords in thirds.", "tag": "strong" } ], "reading_order": 146 }, { "id": "cutter-p032-6", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "Seize that interval most apparent, third or fifth, and build from it in thirds until the whole chord be found.", "original": "Seize that interval most apparent, third or fifth, and build from it in thirds until the whole chord be found.", "reading_order": 147 }, { "id": "cutter-p032-7", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "3. The identity of a chord depends on its resolution.", "original": "3. The identity of a chord depends on its resolution.", "inline": [ { "text": "3. " }, { "text": "The identity of a chord depends on its resolution.", "tag": "strong" } ], "reading_order": 148 }, { "id": "cutter-p032-8", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "In other words: judge a chord by what it does! Always look ahead. Any chord may be taken as a harmony in one key and quitted as a harmony in another key; or it may belong to one key alone; or it may be an altered chord; it is well to remember these three possibilities.", "original": "In other words: judge a chord by what it does! Always look ahead. Any chord may be taken as a harmony in one key and quitted as a harmony in another key; or it may belong to one key alone; or it may be an altered chord; it is well to remember these three possibilities.", "inline": [ { "text": "In other words: judge a chord " }, { "text": "by what it does!", "tag": "em" }, { "text": " Always look ahead. Any chord may be taken as a harmony in one key and quitted as a harmony in another key; or it may belong to one key alone; or it may be an altered chord; it is well to remember these three possibilities." } ], "reading_order": 149 }, { "id": "cutter-p032-9", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "4. Reduce harmonies to principal chords, if possible.", "original": "4. Reduce harmonies to principal chords, if possible.", "inline": [ { "text": "4. " }, { "text": "Reduce harmonies to principal chords, if possible.", "tag": "strong" } ], "reading_order": 150 }, { "id": "cutter-p032-10", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "The iii and the vi usually occur in sequences. The I, V, IV, and ii, with their various derivatives, will generally be found sufficient for both classical and modern music. Hence, in analyzing, first get out the chord structure, making it as simple as possible, and then go back and mark the foreign tones.", "original": "The iii and the vi usually occur in sequences. The I, V, IV, and ii, with their various derivatives, will generally be found sufficient for both classical and modern music. Hence, in analyzing, first get out the chord structure, making it as simple as possible, and then go back and mark the foreign tones.", "inline": [ { "text": "The iii and the vi usually occur in sequences. The I, V, IV, and ii, with their various derivatives, will generally be found sufficient for both classical and modern music. Hence, in analyzing, " }, { "text": "first get out the chord structure, making it as simple as possible, and then go back and mark the foreign tones.", "tag": "em" } ], "reading_order": 151 }, { "id": "cutter-p032-11", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "5. Place as many chords as possible in one key.", "original": "5. Place as many chords as possible in one key.", "inline": [ { "text": "5. " }, { "text": "Place as many chords as possible in one key.", "tag": "strong" } ], "reading_order": 152 }, { "id": "cutter-p032-12", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "6. A major triad used as an opening chord should be regarded as a tonic harmony.", "original": "6. A major triad used as an opening chord should be regarded as a tonic harmony.", "inline": [ { "text": "6. " }, { "text": "A major triad used as an opening chord should be regarded as a tonic harmony.", "tag": "strong" } ], "reading_order": 153 }, { "id": "cutter-p032-13", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "Instances to the contrary are rare, although they do occur.", "original": "Instances to the contrary are rare, although they do occur.", "reading_order": 154 }, { "id": "cutter-p032-14", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "7. The normal chord change falls on the accent.", "original": "7. The normal chord change falls on the accent.", "inline": [ { "text": "7. " }, { "text": "The normal chord change falls on the accent.", "tag": "strong" } ], "reading_order": 155 }, { "id": "cutter-p032-15", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "The use of this principle will simplify many places otherwise complicated and difficult. If, for instance, the V7 be before the bar-line or before the third beat of a measure in four-four time, and only one member of the chord of resolution be on the following accent, this one tone, especially if it be the bass tone, defines the chord and causes the other tones to be unessential,—suspensions, appoggiaturas, etc.,—provided that the other members of the rightful chord of resolution enter later in the measure.", "original": "The use of this principle will simplify many places otherwise complicated and difficult. If, for instance, the V7 be before the bar-line or before the third beat of a measure in four-four time, and only one member of the chord of resolution be on the following accent, this one tone, especially if it be the bass tone, defines the chord and causes the other tones to be unessential,—suspensions, appoggiaturas, etc.,—provided that the other members of the rightful chord of resolution enter later in the measure.", "reading_order": 156 }, { "id": "cutter-p032-16", "type": "paragraph", "sources": [ { "pdf_page": 32, "source_image": "source-pages/p-032.jpg", "printed_page": 17 } ], "english": "8. A six-four on the accent may be regarded, in nearly every case, as a tonic harmony.", "original": "8. A six-four on the accent may be regarded, in nearly every case, as a tonic harmony.", "inline": [ { "text": "8. " }, { "text": "A six-four on the accent may be regarded, in nearly every case, as a tonic harmony.", "tag": "strong" } ], "reading_order": 157 }, { "id": "cutter-p033-1", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "9. Any scale step may be changed chromatically without causing a desertion of the key, if the chromatic chord be followed by a principal chord of the reigning key.", "original": "9. Any scale step may be changed chromatically without causing a desertion of the key, if the chromatic chord be followed by a principal chord of the reigning key.", "inline": [ { "text": "9. " }, { "text": "Any scale step may be changed chromatically without causing a desertion of the key, if the chromatic chord be followed by a principal chord of the reigning key.", "tag": "strong" } ], "reading_order": 158 }, { "id": "cutter-p033-2", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "The “identity of a chord,” then, “depends on its resolution.”", "original": "The “identity of a chord,” then, “depends on its resolution.”", "reading_order": 159 }, { "id": "cutter-p033-3", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "10. Modulation. Made (1) by the V, in its various forms; (2) by a 6/4 on the accent, the root becoming a tonic and drawing after it a cadence,—a progression which may also follow an unaccented 6/4, although infrequently; (3) by the ii in its various forms, this chord, often called a “chord of approach,” moving into a cadence through its tendency toward the dominant; (4) by any of the triads of a key, even the weakest, the iii, in which especial case the establishment of the key may require several characteristic chords, most often the succession, iii, vi, ii, V, I, altered or diatonic, with or without sevenths, inverted or not; (5) by taking a tonic, and afterwards establishing it, the so-called Assumption of a Key; (6) by enharmonic means; and (7) by a change of mode, the change being usually made from a tonic harmony.", "original": "10. Modulation. Made (1) by the V, in its various forms; (2) by a 6/4 on the accent, the root becoming a tonic and drawing after it a cadence,—a progression which may also follow an unaccented 6/4, although infrequently; (3) by the ii in its various forms, this chord, often called a “chord of approach,” moving into a cadence through its tendency toward the dominant; (4) by any of the triads of a key, even the weakest, the iii, in which especial case the establishment of the key may require several characteristic chords, most often the succession, iii, vi, ii, V, I, altered or diatonic, with or without sevenths, inverted or not; (5) by taking a tonic, and afterwards establishing it, the so-called Assumption of a Key; (6) by enharmonic means; and (7) by a change of mode, the change being usually made from a tonic harmony.", "inline": [ { "text": "10. " }, { "text": "Modulation. Made (1) by the V, in its various forms; (2) by a 6/4 on the accent,", "tag": "strong" }, { "text": " the root becoming a tonic and drawing after it a cadence,—a progression which may also follow an unaccented 6/4, although infrequently; " }, { "text": "(3) by the ii in its various forms,", "tag": "strong" }, { "text": " this chord, often called a “chord of approach,” moving into a cadence through its tendency toward the dominant; " }, { "text": "(4) by any of the triads of a key,", "tag": "strong" }, { "text": " even the weakest, the iii, in which especial case the establishment of the key may require several characteristic chords, most often the succession, iii, vi, ii, V, I, altered or diatonic, with or without sevenths, inverted or not; " }, { "text": "(5) by taking a tonic, and afterwards establishing it,", "tag": "strong" }, { "text": " the so-called Assumption of a Key; " }, { "text": "(6) by enharmonic means", "tag": "strong" }, { "text": "; and " }, { "text": "(7) by a change of mode,", "tag": "strong" }, { "text": " the change being usually made from a tonic harmony." } ], "reading_order": 160 }, { "id": "cutter-p033-4", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "11. An apparent dominant seventh must be tested as to its resolution and its surroundings.", "original": "11. An apparent dominant seventh must be tested as to its resolution and its surroundings.", "inline": [ { "text": "11. " }, { "text": "An apparent dominant seventh must be tested as to its resolution and its surroundings.", "tag": "strong" } ], "reading_order": 161 }, { "id": "cutter-p033-5", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "A chromatic chord, apparently a dominant seventh—having all its intervals—will often appear and disturb the analysis. Unless it fixes the key strongly on the mind through legitimate resolution and sufficient duration, it may best be regarded as an altered chord, in most cases as a supertonic seventh, chromatically changed. Principle Number 3 must be borne in mind. If an apparent V7 of G major stands between two strong C major chords, it is an altered chord in C major, and nothing else.", "original": "A chromatic chord, apparently a dominant seventh—having all its intervals—will often appear and disturb the analysis. Unless it fixes the key strongly on the mind through legitimate resolution and sufficient duration, it may best be regarded as an altered chord, in most cases as a supertonic seventh, chromatically changed. Principle Number 3 must be borne in mind. If an apparent V7 of G major stands between two strong C major chords, it is an altered chord in C major, and nothing else.", "reading_order": 162 }, { "id": "cutter-p033-6", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "12. Modulations should be marked as belonging to the next related keys; i.e., from C one goes to G, e, a, F, d.", "original": "12. Modulations should be marked as belonging to the next related keys; i.e., from C one goes to G, e, a, F, d.", "inline": [ { "text": "12. " }, { "text": "Modulations should be marked as belonging to the next related keys", "tag": "strong" }, { "text": "; " }, { "text": "i.e.", "tag": "em" }, { "text": ", from C one goes to G, e, a, F, d." } ], "reading_order": 163 }, { "id": "cutter-p033-7", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "If, for example, in C major the D major tonic appears after its dominant, the dominant must be marked as D minor and the major tonic as D major, involving a change of mode.", "original": "If, for example, in C major the D major tonic appears after its dominant, the dominant must be marked as D minor and the major tonic as D major, involving a change of mode.", "reading_order": 164 }, { "id": "cutter-p033-8", "type": "paragraph", "sources": [ { "pdf_page": 33, "source_image": "source-pages/p-033.jpg", "printed_page": 18 } ], "english": "13. When a seventh chord does not contain the elements of a V7—major third, perfect fifth, minor seventh—nor of a vii°7°—minor third, diminished fifth, diminished seventh—this chord may be regarded as a supertonic seventh.", "original": "13. When a seventh chord does not contain the elements of a V7—major third, perfect fifth, minor seventh—nor of a vii°7°—minor third, diminished fifth, diminished seventh—this chord may be regarded as a supertonic seventh.", "inline": [ { "text": "13. " }, { "text": "When a seventh chord does not contain the elements of a V7", "tag": "strong" }, { "text": "—major third, perfect fifth, minor seventh—" }, { "text": "nor of a vii°7°", "tag": "strong" }, { "text": "—minor third, diminished fifth, diminished seventh—" }, { "text": "this chord may be regarded as a supertonic seventh.", "tag": "strong" } ], "reading_order": 165 }, { "id": "cutter-p034-1", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "In the great majority of cases this interpretation will be found to be correct, for the seventh chords on the other steps of the scale are rarely used save in sequence progressions.", "original": "In the great majority of cases this interpretation will be found to be correct, for the seventh chords on the other steps of the scale are rarely used save in sequence progressions.", "reading_order": 166 }, { "id": "cutter-p034-2", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "14. When in a rapid tempo a chord is repeated with more than one bass note, that is, with change of inversion, the first appearance of the chord is usually the one to be figured.", "original": "14. When in a rapid tempo a chord is repeated with more than one bass note, that is, with change of inversion, the first appearance of the chord is usually the one to be figured.", "inline": [ { "text": "14. " }, { "text": "When in a rapid tempo a chord is repeated with more than one bass note, that is, with change of inversion, the first appearance of the chord is usually the one to be figured.", "tag": "strong" } ], "reading_order": 167 }, { "id": "cutter-p034-3", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "15. Any member of a chord may be omitted without causing the chord to lose its identity; an incomplete principal harmony must not be regarded, however, as a secondary chord.", "original": "15. Any member of a chord may be omitted without causing the chord to lose its identity; an incomplete principal harmony must not be regarded, however, as a secondary chord.", "inline": [ { "text": "15. " }, { "text": "Any member of a chord may be omitted without causing the chord to lose its identity; an incomplete principal harmony must not be regarded, however, as a secondary chord.", "tag": "strong" } ], "reading_order": 168 }, { "id": "cutter-p034-4", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "16. Chromatic alterations may be indicated, if necessary, by placing in brackets below the Roman chord-numerals, the figures for the chord accompanied by the proper accidentals.", "original": "16. Chromatic alterations may be indicated, if necessary, by placing in brackets below the Roman chord-numerals, the figures for the chord accompanied by the proper accidentals.", "inline": [ { "text": "16. " }, { "text": "Chromatic alterations may be indicated, if necessary, by placing in brackets below the Roman chord-numerals, the figures for the chord accompanied by the proper accidentals.", "tag": "strong" } ], "reading_order": 169 }, { "id": "cutter-p034-5", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "Thus, ii6/5 [♯1/♯3] signifies that the supertonic seventh is in its first inversion with raised root and third.", "original": "Thus, ii6/5 [♯1/♯3] signifies that the supertonic seventh is in its first inversion with raised root and third.", "reading_order": 170 }, { "id": "cutter-p034-6", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "asset_refs": [ "fig-034-1" ], "reading_order": 171 }, { "id": "cutter-p034-7", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "17. The nature of a major triad—whether dominant or tonic—when standing at the end of a phrase, may often be best decided by ear.", "original": "17. The nature of a major triad—whether dominant or tonic—when standing at the end of a phrase, may often be best decided by ear.", "inline": [ { "text": "17. " }, { "text": "The nature of a major triad—whether dominant or tonic—when standing at the end of a phrase, may often be best decided by ear.", "tag": "strong" } ], "reading_order": 172 }, { "id": "cutter-p034-8", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "The effect of a Tonic is that of rest, of finality; the effect of a Dominant is that of suspense, of something to come.", "original": "The effect of a Tonic is that of rest, of finality; the effect of a Dominant is that of suspense, of something to come.", "reading_order": 173 }, { "id": "cutter-p034-9", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "18. The chromatic chord which precedes a modulating dominant seventh or tonic six-four chord—usually a diminished seventh or an augmented chord—is to be placed in the key of this modulating seventh or tonic six-four chord.", "original": "18. The chromatic chord which precedes a modulating dominant seventh or tonic six-four chord—usually a diminished seventh or an augmented chord—is to be placed in the key of this modulating seventh or tonic six-four chord.", "inline": [ { "text": "18. " }, { "text": "The chromatic chord which precedes a modulating dominant seventh or tonic six-four chord", "tag": "strong" }, { "text": "—usually a diminished seventh or an augmented chord—" }, { "text": "is to be placed in the key of this modulating seventh or tonic six-four chord.", "tag": "strong" } ], "reading_order": 174 }, { "id": "cutter-p034-10", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "This is the natural outcome of Principles Numbers 3 and 5.", "original": "This is the natural outcome of Principles Numbers 3 and 5.", "reading_order": 175 }, { "id": "cutter-p034-11", "type": "heading", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "heading_level": 3, "english": "Section 14. Real Modulations.", "original": "Section 14. Real Modulations.", "reading_order": 176 }, { "id": "cutter-p034-12", "type": "paragraph", "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "english": "Shown by an extended and deliberate progression in the new key, or by rapidly shifting key clusters. Mark as before. No further directions would seem to be needful as to this point.", "original": "Shown by an extended and deliberate progression in the new key, or by rapidly shifting key clusters. Mark as before. No further directions would seem to be needful as to this point.", "inline": [ { "text": "Shown by an extended and deliberate progression in the new key, or by rapidly shifting key clusters. " }, { "text": "Mark as before.", "tag": "strong" }, { "text": " No further directions would seem to be needful as to this point." } ], "reading_order": 177 }, { "id": "cutter-p035-1c", "type": "caption", "english": "Ex. 28 · Moderato. Mozart, March.", "original": "Ex. 28 · Moderato. Mozart, March.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "reading_order": 178 }, { "id": "cutter-p035-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "asset_refs": [ "ex-028" ], "reading_order": 179 }, { "id": "cutter-p035-2c", "type": "caption", "english": "Ex. 29 · Allegro risoluto. Beethoven, March.", "original": "Ex. 29 · Allegro risoluto. Beethoven, March.", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "reading_order": 180 }, { "id": "cutter-p035-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "asset_refs": [ "ex-029" ], "reading_order": 181 }, { "id": "cutter-p036-1c", "type": "caption", "english": "Ex. 30 · Diabelli, Waltz.", "original": "Ex. 30 · Diabelli, Waltz.", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21 } ], "reading_order": 182 }, { "id": "cutter-p036-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21 } ], "asset_refs": [ "ex-030" ], "reading_order": 183 }, { "id": "cutter-p038-1", "type": "heading", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "heading_level": 2, "english": "PART TWO. THE NON-HARMONIC TONES, IN DETAIL.", "original": "PART TWO. THE NON-HARMONIC TONES, IN DETAIL.", "reading_order": 184 }, { "id": "cutter-p038-2", "type": "heading", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "heading_level": 3, "english": "Section 15. References.", "original": "Section 15. References.", "reading_order": 185 }, { "id": "cutter-p038-3", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "Explanation of Signs. The Roman numeral stands for the movement; the Arabic numeral immediately following stands for the measure. In counting the measures, Measure 1 is the first full measure, the first measure beginning with a down beat; in other words, any fractional part of a measure with which a piece may begin, does not count. More than this—repeat signs have no value.", "original": "Explanation of Signs. The Roman numeral stands for the movement; the Arabic numeral immediately following stands for the measure. In counting the measures, Measure 1 is the first full measure, the first measure beginning with a down beat; in other words, any fractional part of a measure with which a piece may begin, does not count. More than this—repeat signs have no value.", "inline": [ { "text": "Explanation of Signs.", "tag": "strong" }, { "text": " The Roman numeral stands for the movement; the Arabic numeral immediately following stands for the measure. In counting the measures, Measure 1 is the first full measure, the first measure beginning with a down beat; in other words, any fractional part of a measure with which a piece may begin, does not count. More than this—repeat signs have no value." } ], "reading_order": 186 }, { "id": "cutter-p038-4", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "Thus, Beethoven, Op. 10, No. 2, I, 19, means: Beethoven, opus ten, second sonata, first movement, nineteenth measure.", "original": "Thus, Beethoven, Op. 10, No. 2, I, 19, means: Beethoven, opus ten, second sonata, first movement, nineteenth measure.", "reading_order": 187 }, { "id": "cutter-p038-5", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "In some cases, where the movement is short, no measure-figures have been given.", "original": "In some cases, where the movement is short, no measure-figures have been given.", "reading_order": 188 }, { "id": "cutter-p038-6", "type": "heading", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "heading_level": 3, "english": "Section 16. The Appoggiatura (continued).", "original": "Section 16. The Appoggiatura (continued).", "inline": [ { "text": "Section 16. The Appoggiatura (" }, { "text": "continued", "tag": "em" }, { "text": ")." } ], "reading_order": 189 }, { "id": "cutter-p038-7", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "This ornament may move not only into a chord tone, but into some other non-harmonic tone also.", "original": "This ornament may move not only into a chord tone, but into some other non-harmonic tone also.", "reading_order": 190 }, { "id": "cutter-p038-8", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "Both neighbors of a chord tone may also be taken immediately before the chord tone itself, forming a Double Appoggiatura, and occasionally one of these tones is repeated, forming a Triple Appoggiatura.", "original": "Both neighbors of a chord tone may also be taken immediately before the chord tone itself, forming a Double Appoggiatura, and occasionally one of these tones is repeated, forming a Triple Appoggiatura.", "reading_order": 191 }, { "id": "cutter-p038-9", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "We have also applied the term Appoggiatura to that foreign tone which enters something like an Embellishment, but after a rest; and also, to that foreign tone in a scale passage which is taken by a step or skip of an augmented second.", "original": "We have also applied the term Appoggiatura to that foreign tone which enters something like an Embellishment, but after a rest; and also, to that foreign tone in a scale passage which is taken by a step or skip of an augmented second.", "reading_order": 192 }, { "id": "cutter-p038-10", "type": "paragraph", "sources": [ { "pdf_page": 38, "source_image": "source-pages/p-038.jpg", "printed_label": "PDF 38" } ], "english": "Signs: Appoggiatura, App.; Double Appoggiatura, D. App.; Triple Appoggiatura, T. App.", "original": "Signs: Appoggiatura, App.; Double Appoggiatura, D. App.; Triple Appoggiatura, T. App.", "reading_order": 193 }, { "id": "cutter-p039-1c", "type": "caption", "english": "Ex. 31 · Lento. Schubert, Song.", "original": "Ex. 31 · Lento. Schubert, Song.", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "reading_order": 194 }, { "id": "cutter-p039-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "asset_refs": [ "ex-031" ], "reading_order": 195 }, { "id": "cutter-p039-2c", "type": "caption", "english": "Ex. 32 · Con molto agitazione. Weber, Concertstück", "original": "Ex. 32 · Con molto agitazione. Weber, Concertstück", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "reading_order": 196 }, { "id": "cutter-p039-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "asset_refs": [ "ex-032" ], "reading_order": 197 }, { "id": "cutter-p039-3c", "type": "caption", "english": "Ex. 33 · Allegro. Chopin, Etude.", "original": "Ex. 33 · Allegro. Chopin, Etude.", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "reading_order": 198 }, { "id": "cutter-p039-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "asset_refs": [ "ex-033" ], "reading_order": 199 }, { "id": "cutter-p039-4c", "type": "caption", "english": "Ex. 34 · Molto lento. Schumann, Op. 68.", "original": "Ex. 34 · Molto lento. Schumann, Op. 68.", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "reading_order": 200 }, { "id": "cutter-p039-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "asset_refs": [ "ex-034" ], "reading_order": 201 }, { "id": "cutter-p040-1c", "type": "caption", "english": "Ex. 35 · Allegretto. B. Cutter, Etude.", "original": "Ex. 35 · Allegretto. B. Cutter, Etude.", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "reading_order": 202 }, { "id": "cutter-p040-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "asset_refs": [ "ex-035" ], "reading_order": 203 }, { "id": "cutter-p040-2c", "type": "caption", "english": "Ex. 36 · Presto con fuoco. Chopin, Prelude.", "original": "Ex. 36 · Presto con fuoco. Chopin, Prelude.", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "reading_order": 204 }, { "id": "cutter-p040-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "asset_refs": [ "ex-036" ], "reading_order": 205 }, { "id": "cutter-p040-3", "type": "paragraph", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "english": "References. Appogg.: Beethoven, Op. 7, IV, 34; Op. 10, No. 1, III, 43; Op. 10, No. 2, I, 19: Op. 13, I, Allo., 25; Czerny, Op. 299, No. 31, second part; Cramer, Etude 6; Bizet, L’Arlésienne, Suite No. 1, Un poco più lento.", "original": "References. Appogg.: Beethoven, Op. 7, IV, 34; Op. 10, No. 1, III, 43; Op. 10, No. 2, I, 19: Op. 13, I, Allo., 25; Czerny, Op. 299, No. 31, second part; Cramer, Etude 6; Bizet, L’Arlésienne, Suite No. 1, Un poco più lento.", "inline": [ { "text": "References. " }, { "text": "Appogg.", "tag": "strong" }, { "text": ": Beethoven, Op. 7, IV, 34; Op. 10, No. 1, III, 43; Op. 10, No. 2, I, 19: Op. 13, I, " }, { "text": "Allo.", "tag": "em" }, { "text": ", 25; Czerny, Op. 299, No. 31, second part; Cramer, Etude 6; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 1, " }, { "text": "Un poco più lento.", "tag": "em" } ], "reading_order": 206 }, { "id": "cutter-p040-4", "type": "paragraph", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "english": "Double Appogg.: Beethoven, Op. 7. IV, 48; Op. 2, No. 1, 26; Chopin, Prelude No. 13; Czerny. Op. 299, No. 11; Cramer, Etude 10, Etude 28.", "original": "Double Appogg.: Beethoven, Op. 7. IV, 48; Op. 2, No. 1, 26; Chopin, Prelude No. 13; Czerny. Op. 299, No. 11; Cramer, Etude 10, Etude 28.", "inline": [ { "text": "Double Appogg.", "tag": "strong" }, { "text": ": Beethoven, Op. 7. IV, 48; Op. 2, No. 1, 26; Chopin, Prelude No. 13; Czerny. Op. 299, No. 11; Cramer, Etude 10, Etude 28." } ], "reading_order": 207 }, { "id": "cutter-p040-5", "type": "heading", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "heading_level": 3, "english": "Section 17. The Appoggiatura Chord.", "original": "Section 17. The Appoggiatura Chord.", "reading_order": 208 }, { "id": "cutter-p040-6", "type": "paragraph", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "english": "The Appoggiatura Chord is a chord, usually chromatic, which has as its soprano tone a genuine Appoggiatura. The inner voices which accompany the soprano tone may be passing tones, suspensions, any kind of foreign tones. Such a chord precedes a principal harmony, and if its tones be stricken out, omitted, this principal chord will appear as one of the harmonic essentials. The Appoggiatura Chord generally appears on the accent.", "original": "The Appoggiatura Chord is a chord, usually chromatic, which has as its soprano tone a genuine Appoggiatura. The inner voices which accompany the soprano tone may be passing tones, suspensions, any kind of foreign tones. Such a chord precedes a principal harmony, and if its tones be stricken out, omitted, this principal chord will appear as one of the harmonic essentials. The Appoggiatura Chord generally appears on the accent.", "inline": [ { "text": "The Appoggiatura Chord is a chord, usually chromatic, which has as its soprano tone a genuine Appoggiatura.", "tag": "strong" }, { "text": " The inner voices which accompany the soprano tone may be passing tones, suspensions, any kind of foreign tones. Such a chord precedes a principal harmony, and if its tones be stricken out, omitted, this principal chord will appear as one of the harmonic essentials. The Appoggiatura Chord generally appears on the accent." } ], "reading_order": 209 }, { "id": "cutter-p040-7", "type": "paragraph", "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "english": "Sign: App. Chd.", "original": "Sign: App. Chd.", "reading_order": 210 }, { "id": "cutter-p041-1c", "type": "caption", "english": "Ex. 37 · Adagio. Bizet, L’Arlésienne.", "original": "Ex. 37 · Adagio. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "reading_order": 211 }, { "id": "cutter-p041-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "asset_refs": [ "ex-037" ], "reading_order": 212 }, { "id": "cutter-p041-2", "type": "paragraph", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "english": "References. Beethoven, Op. 2, No. 3, IV; Op. 7, II, 8; Op. 10, No. 2, II, D♭ strain; Cramer, Etude 4, m. 19; Etude 19, m. 18; Et. 14, m. 6; Schumann, Op. 6, No. 9, m. 1; Bizet, L’Arlésienne, Suite No. 1, I, Un poco più lento, m. 8: Wagner, Tannhäuser, 239, m. 1.", "original": "References. Beethoven, Op. 2, No. 3, IV; Op. 7, II, 8; Op. 10, No. 2, II, D♭ strain; Cramer, Etude 4, m. 19; Etude 19, m. 18; Et. 14, m. 6; Schumann, Op. 6, No. 9, m. 1; Bizet, L’Arlésienne, Suite No. 1, I, Un poco più lento, m. 8: Wagner, Tannhäuser, 239, m. 1.", "inline": [ { "text": "References. Beethoven, Op. 2, No. 3, IV; Op. 7, II, 8; Op. 10, No. 2, II, D♭ strain; Cramer, Etude 4, m. 19; Etude 19, m. 18; Et. 14, m. 6; Schumann, Op. 6, No. 9, m. 1; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 1, I, " }, { "text": "Un poco più lento", "tag": "em" }, { "text": ", m. 8: Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 239, m. 1." } ], "reading_order": 213 }, { "id": "cutter-p041-3", "type": "heading", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "heading_level": 3, "english": "Section 18. The Free Tone.", "original": "Section 18. The Free Tone.", "reading_order": 214 }, { "id": "cutter-p041-4", "type": "paragraph", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "english": "The Free Tone is a foreign tone which is quitted by a skip, up or down, and is not a member of the following chord. It may be used after a foreign tone of any kind. It is rare in the classics, but frequent in certain modern works.", "original": "The Free Tone is a foreign tone which is quitted by a skip, up or down, and is not a member of the following chord. It may be used after a foreign tone of any kind. It is rare in the classics, but frequent in certain modern works.", "inline": [ { "text": "The Free Tone is a foreign tone which is quitted by a skip, up or down, and is not a member of the following chord.", "tag": "strong" }, { "text": " It may be used after a foreign tone of any kind. It is rare in the classics, but frequent in certain modern works." } ], "reading_order": 215 }, { "id": "cutter-p041-5", "type": "paragraph", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "english": "Sign: F. T.", "original": "Sign: F. T.", "reading_order": 216 }, { "id": "cutter-p041-6c", "type": "caption", "english": "Ex. 38 · Allegretto. Grieg, Op. 6.", "original": "Ex. 38 · Allegretto. Grieg, Op. 6.", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "reading_order": 217 }, { "id": "cutter-p041-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "asset_refs": [ "ex-038" ], "reading_order": 218 }, { "id": "cutter-p042-1c", "type": "caption", "english": "Ex. 39 · Veloce. B. Cutter, Etude.", "original": "Ex. 39 · Veloce. B. Cutter, Etude.", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "reading_order": 219 }, { "id": "cutter-p042-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "asset_refs": [ "ex-039" ], "reading_order": 220 }, { "id": "cutter-p042-2", "type": "paragraph", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "english": "References. Wagner, Lohengrin, p. 10; Bizet L’Arlésienne, Suite 1, II, m. 52, etc.; Grieg. Op. 6, No. 1, m. 22.", "original": "References. Wagner, Lohengrin, p. 10; Bizet L’Arlésienne, Suite 1, II, m. 52, etc.; Grieg. Op. 6, No. 1, m. 22.", "inline": [ { "text": "References. Wagner, " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", p. 10; Bizet " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite 1, II, m. 52, etc.; Grieg. Op. 6, No. 1, m. 22." } ], "reading_order": 221 }, { "id": "cutter-p042-3", "type": "heading", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "heading_level": 3, "english": "Section 19. The Passing Tone (continued).", "original": "Section 19. The Passing Tone (continued).", "inline": [ { "text": "Section 19. The Passing Tone (" }, { "text": "continued", "tag": "em" }, { "text": ")." } ], "reading_order": 222 }, { "id": "cutter-p042-4", "type": "paragraph", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "english": "The Passing Tone may be used when two members of a chord remain stationary.", "original": "The Passing Tone may be used when two members of a chord remain stationary.", "reading_order": 223 }, { "id": "cutter-p042-5", "type": "paragraph", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "english": "Also, two or three voices, in the latter case forming chords, may move from a principal chord to another principal chord some distance away; those chords which are passed through have no harmonic significance, and only the end chords need to be marked.", "original": "Also, two or three voices, in the latter case forming chords, may move from a principal chord to another principal chord some distance away; those chords which are passed through have no harmonic significance, and only the end chords need to be marked.", "reading_order": 224 }, { "id": "cutter-p042-6", "type": "paragraph", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "english": "Lastly, Passing Tones may be broken, if the tempo be rapid, in the form of thirds or sixths, or even in octaves; see Appendix, Ex. 6.", "original": "Lastly, Passing Tones may be broken, if the tempo be rapid, in the form of thirds or sixths, or even in octaves; see Appendix, Ex. 6.", "reading_order": 225 }, { "id": "cutter-p042-7c", "type": "caption", "english": "Ex. 40 · Andantino. Schumann, Op. 68.", "original": "Ex. 40 · Andantino. Schumann, Op. 68.", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "reading_order": 226 }, { "id": "cutter-p042-7", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "asset_refs": [ "ex-040" ], "reading_order": 227 }, { "id": "cutter-p043-1c", "type": "caption", "english": "Ex. 41 · Presto. Beethoven, Variation.", "original": "Ex. 41 · Presto. Beethoven, Variation.", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "reading_order": 228 }, { "id": "cutter-p043-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "ex-041" ], "reading_order": 229 }, { "id": "cutter-p043-2c", "type": "caption", "english": "Ex. 42 · Andantino grazioso. Czerny, Op. 365.", "original": "Ex. 42 · Andantino grazioso. Czerny, Op. 365.", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "reading_order": 230 }, { "id": "cutter-p043-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "asset_refs": [ "ex-042" ], "reading_order": 231 }, { "id": "cutter-p043-3", "type": "paragraph", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "english": "References. Wagner, Tannhäuser, p. 5; Flying Dutchman, p. 135, m. 12.", "original": "References. Wagner, Tannhäuser, p. 5; Flying Dutchman, p. 135, m. 12.", "inline": [ { "text": "References. Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", p. 5; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", p. 135, m. 12." } ], "reading_order": 232 }, { "id": "cutter-p043-4", "type": "heading", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "heading_level": 3, "english": "Section 20. The Embellishment (continued).", "original": "Section 20. The Embellishment (continued).", "inline": [ { "text": "Section 20. The Embellishment (" }, { "text": "continued", "tag": "em" }, { "text": ")." } ], "reading_order": 233 }, { "id": "cutter-p043-5", "type": "paragraph", "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "english": "The Embellishment may ornament a foreign tone as well as a chord tone. Also, in carrying out a figure, a chord tone may be used to embellish a passing tone. Furthermore, two voices may be embellished simultaneously, and these voices may be broken as are the Passing Tones in Section 19, No. 42.", "original": "The Embellishment may ornament a foreign tone as well as a chord tone. Also, in carrying out a figure, a chord tone may be used to embellish a passing tone. Furthermore, two voices may be embellished simultaneously, and these voices may be broken as are the Passing Tones in Section 19, No. 42.", "inline": [ { "text": "The Embellishment may ornament a foreign tone as well as a chord tone. Also, in carrying out a figure, a chord tone may be used to embellish a passing tone. Furthermore, two voices may be embellished simultaneously, and these voices may be " }, { "text": "broken", "tag": "em" }, { "text": " as are the Passing Tones in Section 19, No. 42." } ], "reading_order": 234 }, { "id": "cutter-p044-1c", "type": "caption", "english": "Ex. 43 · Allegro molto. Beethoven, Quartet, Op. 59, No. 3.", "original": "Ex. 43 · Allegro molto. Beethoven, Quartet, Op. 59, No. 3.", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "reading_order": 235 }, { "id": "cutter-p044-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "ex-043" ], "reading_order": 236 }, { "id": "cutter-p044-2", "type": "paragraph", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "english": "References. Beethoven, Op. 2, No. 1, II, 17; Czerny, Op. 299, No. 4, m. 14; Schumann, Op. 6, No. 7; Chopin, Nocturne 6, m. 8.", "original": "References. Beethoven, Op. 2, No. 1, II, 17; Czerny, Op. 299, No. 4, m. 14; Schumann, Op. 6, No. 7; Chopin, Nocturne 6, m. 8.", "reading_order": 237 }, { "id": "cutter-p044-3", "type": "heading", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "heading_level": 3, "english": "Section 21. The Embellishing Chord.", "original": "Section 21. The Embellishing Chord.", "reading_order": 238 }, { "id": "cutter-p044-4", "type": "paragraph", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "english": "The Embellishing Chord is a combination of tones accompanying an Embellishment in the soprano, and may form a definite chord, built up in thirds, or no chord at all. It may be diatonic or chromatic. Omit it and the essential chord will appear, visible to the eye.", "original": "The Embellishing Chord is a combination of tones accompanying an Embellishment in the soprano, and may form a definite chord, built up in thirds, or no chord at all. It may be diatonic or chromatic. Omit it and the essential chord will appear, visible to the eye.", "inline": [ { "text": "The Embellishing Chord is a combination of tones accompanying an Embellishment in the soprano, and may form a definite chord, built up in thirds, or no chord at all.", "tag": "strong" }, { "text": " It may be diatonic or chromatic. Omit it and the essential chord will appear, visible to the eye." } ], "reading_order": 239 }, { "id": "cutter-p044-5", "type": "paragraph", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "english": "More than this, composers very frequently use as Embellishing Chords, altered diminished seventh chords based on different steps of the scale. Most common are those on the sharp second and sharp sixth steps of the major mode. Thus: C major, d♯, f♯, a, c; a♯ c♯, e, g. Of these the altered supertonic seventh embellishes the tonic harmony, and the altered submediant the dominant harmony. Occasionally an enharmonic notation (see Section 34) of one of these two chords will occur; in C major d♯ being made e♭, etc. These changes result from careless spelling, or from some need of voice writing. Furthermore, either one of these two chords may appear without its third or fifth.", "original": "More than this, composers very frequently use as Embellishing Chords, altered diminished seventh chords based on different steps of the scale. Most common are those on the sharp second and sharp sixth steps of the major mode. Thus: C major, d♯, f♯, a, c; a♯ c♯, e, g. Of these the altered supertonic seventh embellishes the tonic harmony, and the altered submediant the dominant harmony. Occasionally an enharmonic notation (see Section 34) of one of these two chords will occur; in C major d♯ being made e♭, etc. These changes result from careless spelling, or from some need of voice writing. Furthermore, either one of these two chords may appear without its third or fifth.", "inline": [ { "text": "More than this, composers very frequently use as Embellishing Chords, altered diminished seventh chords based on different steps of the scale. Most common are those on the " }, { "text": "sharp second", "tag": "em" }, { "text": " and " }, { "text": "sharp sixth", "tag": "em" }, { "text": " steps of the major mode. Thus: C major, d♯, f♯, a, c; a♯ c♯, e, g. Of these the altered supertonic seventh embellishes the tonic harmony, and the altered submediant the dominant harmony. Occasionally an enharmonic notation (see Section 34) of one of these two chords will occur; in C major d♯ being made e♭, etc. These changes result from careless spelling, or from some need of voice writing. Furthermore, either one of these two chords may appear without its third or fifth." } ], "reading_order": 240 }, { "id": "cutter-p044-6", "type": "paragraph", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "english": "Signs: E. Chd., or E. Chd. ii6/5 [♯1/♯3]", "original": "Signs: E. Chd., or E. Chd. ii6/5 [♯1/♯3]", "reading_order": 241 }, { "id": "cutter-p044-7", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "asset_refs": [ "fig-044-1" ], "reading_order": 242 }, { "id": "cutter-p045-1c", "type": "caption", "english": "Ex. 44 · Allegro vivo. Bizet, Carmen.", "original": "Ex. 44 · Allegro vivo. Bizet, Carmen.", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "reading_order": 243 }, { "id": "cutter-p045-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "ex-044" ], "reading_order": 244 }, { "id": "cutter-p045-2c", "type": "caption", "english": "Ex. 45 · Allegretto. Liszt, Les Préludes.", "original": "Ex. 45 · Allegretto. Liszt, Les Préludes.", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "reading_order": 245 }, { "id": "cutter-p045-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "ex-045" ], "reading_order": 246 }, { "id": "cutter-p045-3c", "type": "caption", "english": "Ex. 46 · Andante. Bizet, L’Arlésienne.", "original": "Ex. 46 · Andante. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "reading_order": 247 }, { "id": "cutter-p045-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "asset_refs": [ "ex-046" ], "reading_order": 248 }, { "id": "cutter-p045-4", "type": "paragraph", "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "english": "References. Beethoven, Op. 2, No. 3, III; Cramer, Etude 14, m. 1, 2, etc.; Bizet, L’Arlésienne, Suite No. 1, I, fifth last measure; ibid. II, m. 18.", "original": "References. Beethoven, Op. 2, No. 3, III; Cramer, Etude 14, m. 1, 2, etc.; Bizet, L’Arlésienne, Suite No. 1, I, fifth last measure; ibid. II, m. 18.", "inline": [ { "text": "References. Beethoven, Op. 2, No. 3, III; Cramer, Etude 14, m. 1, 2, etc.; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 1, I, fifth last measure; " }, { "text": "ibid.", "tag": "em" }, { "text": " II, m. 18." } ], "reading_order": 249 }, { "id": "cutter-p046-1", "type": "heading", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "heading_level": 3, "english": "Section 22. The Suspension.", "original": "Section 22. The Suspension.", "reading_order": 250 }, { "id": "cutter-p046-2", "type": "paragraph", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "english": "The Suspension is the delayed or retarded entrance of a chord tone, or of a foreign tone, and is possible only when a voice moves down a major or a minor second. Suspensions may occur singly or in pairs; three voices may even be suspended at one time, or the whole chord be suspended rhythmically. The Suspension may be plain or ornamented. Double suspensions will often produce combinations which may be regarded as subordinate seventh chords; in analyzing it is well, however, to regard such combinations, when possible, as Suspensions, pure and simple, and to thus carry out one of the first Principles of Analysis—that of making as few chords as possible, and these principal chords.", "original": "The Suspension is the delayed or retarded entrance of a chord tone, or of a foreign tone, and is possible only when a voice moves down a major or a minor second. Suspensions may occur singly or in pairs; three voices may even be suspended at one time, or the whole chord be suspended rhythmically. The Suspension may be plain or ornamented. Double suspensions will often produce combinations which may be regarded as subordinate seventh chords; in analyzing it is well, however, to regard such combinations, when possible, as Suspensions, pure and simple, and to thus carry out one of the first Principles of Analysis—that of making as few chords as possible, and these principal chords.", "inline": [ { "text": "The Suspension is the delayed or retarded entrance of a chord tone, or of a foreign tone, and is possible only when a voice moves down a major or a minor second.", "tag": "strong" }, { "text": " Suspensions may occur singly or in pairs; three voices may even be suspended at one time, or the whole chord be suspended rhythmically. The Suspension may be plain or ornamented. Double suspensions will often produce combinations which may be regarded as subordinate seventh chords; in analyzing it is well, however, to regard such combinations, when possible, as Suspensions, pure and simple, and to thus carry out one of the first Principles of Analysis—that of making as few chords as possible, and these " }, { "text": "principal chords.", "tag": "em" } ], "reading_order": 251 }, { "id": "cutter-p046-3", "type": "paragraph", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "english": "The resolution of the single Suspension, and occasionally of the double Suspension, though rarely, may be made into some chord other than the chord to which the tone of resolution in the first place belonged.", "original": "The resolution of the single Suspension, and occasionally of the double Suspension, though rarely, may be made into some chord other than the chord to which the tone of resolution in the first place belonged.", "reading_order": 252 }, { "id": "cutter-p046-4", "type": "paragraph", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "english": "The resolution of the Suspension may be ornamented in a number of ways.", "original": "The resolution of the Suspension may be ornamented in a number of ways.", "reading_order": 253 }, { "id": "cutter-p046-5", "type": "paragraph", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "english": "Sign: S.", "original": "Sign: S.", "reading_order": 254 }, { "id": "cutter-p046-6c", "type": "caption", "english": "Ex. 47 · Allegretto. Mozart, Variation.", "original": "Ex. 47 · Allegretto. Mozart, Variation.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "reading_order": 255 }, { "id": "cutter-p046-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "asset_refs": [ "ex-047" ], "reading_order": 256 }, { "id": "cutter-p046-7c", "type": "caption", "english": "Ex. 48 · Molto lento. Schumann, Op. 68.", "original": "Ex. 48 · Molto lento. Schumann, Op. 68.", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "reading_order": 257 }, { "id": "cutter-p046-7", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "asset_refs": [ "ex-048" ], "reading_order": 258 }, { "id": "cutter-p047-1c", "type": "caption", "english": "Ex. 49 · Allegretto. Schubert, Impromptu.", "original": "Ex. 49 · Allegretto. Schubert, Impromptu.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "reading_order": 259 }, { "id": "cutter-p047-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "asset_refs": [ "ex-049" ], "reading_order": 260 }, { "id": "cutter-p047-2c", "type": "caption", "english": "Ex. 50 · Allegro. Beethoven, Op. 14.", "original": "Ex. 50 · Allegro. Beethoven, Op. 14.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "reading_order": 261 }, { "id": "cutter-p047-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "asset_refs": [ "ex-050" ], "reading_order": 262 }, { "id": "cutter-p047-3c", "type": "caption", "english": "Ex. 51 · Allegretto. Mozart, Variation.", "original": "Ex. 51 · Allegretto. Mozart, Variation.", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "reading_order": 263 }, { "id": "cutter-p047-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "asset_refs": [ "ex-051" ], "reading_order": 264 }, { "id": "cutter-p047-4", "type": "paragraph", "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "english": "References. Beethoven, Op. 7, II, 6; Op. 2, No. 1, I, 11; Cramer, Etude 25, m. 2; Schumann, Op. 12, No. 1, m. 2 and 21; Chopin, Prelude No. 2, m. 11, 12; Prelude No. 4 (essential chord at end of each measure); Bizet, L’Arlésienne, Suite I, Andantino, m. 2, 3; Wagner, Flying Dutchman, p. 4 (three chords in two measures).", "original": "References. Beethoven, Op. 7, II, 6; Op. 2, No. 1, I, 11; Cramer, Etude 25, m. 2; Schumann, Op. 12, No. 1, m. 2 and 21; Chopin, Prelude No. 2, m. 11, 12; Prelude No. 4 (essential chord at end of each measure); Bizet, L’Arlésienne, Suite I, Andantino, m. 2, 3; Wagner, Flying Dutchman, p. 4 (three chords in two measures).", "inline": [ { "text": "References. Beethoven, Op. 7, II, 6; Op. 2, No. 1, I, 11; Cramer, Etude 25, m. 2; Schumann, Op. 12, No. 1, m. 2 and 21; Chopin, Prelude No. 2, m. 11, 12; Prelude No. 4 (essential chord at end of each measure); Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite I, " }, { "text": "Andantino", "tag": "em" }, { "text": ", m. 2, 3; Wagner, " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", p. 4 (three chords in two measures)." } ], "reading_order": 265 }, { "id": "cutter-p048-1", "type": "heading", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "heading_level": 3, "english": "Section 23. The Anticipation.", "original": "Section 23. The Anticipation.", "reading_order": 266 }, { "id": "cutter-p048-2", "type": "paragraph", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "english": "The Anticipation is the premature entrance of a tone, essential or foreign, and is the opposite of the Suspension. The German term, Vorausnahme, roughly translated as the thing-taken-beforehand, explains this phenomenon finely. Principle No. 4 should be borne in mind. The Anticipation may include a whole chord, with a skip in bass. Rather infrequent in occurrence.", "original": "The Anticipation is the premature entrance of a tone, essential or foreign, and is the opposite of the Suspension. The German term, Vorausnahme, roughly translated as the thing-taken-beforehand, explains this phenomenon finely. Principle No. 4 should be borne in mind. The Anticipation may include a whole chord, with a skip in bass. Rather infrequent in occurrence.", "inline": [ { "text": "The Anticipation is the premature entrance of a tone, essential or foreign, and is the opposite of the Suspension.", "tag": "strong" }, { "text": " The German term, " }, { "text": "Vorausnahme", "tag": "em" }, { "text": ", roughly translated as the thing-taken-beforehand, explains this phenomenon finely. Principle No. 4 should be borne in mind. The Anticipation may include a whole chord, with a skip in bass. Rather infrequent in occurrence." } ], "reading_order": 267 }, { "id": "cutter-p048-3", "type": "paragraph", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "english": "Sign: A.", "original": "Sign: A.", "reading_order": 268 }, { "id": "cutter-p048-4c", "type": "caption", "english": "Ex. 52 · Lento. Bach.", "original": "Ex. 52 · Lento. Bach.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "reading_order": 269 }, { "id": "cutter-p048-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "asset_refs": [ "ex-052" ], "reading_order": 270 }, { "id": "cutter-p048-5c", "type": "caption", "english": "Ex. 53 · Allegro patetico. B. Cutter, Sonata.", "original": "Ex. 53 · Allegro patetico. B. Cutter, Sonata.", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "reading_order": 271 }, { "id": "cutter-p048-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "asset_refs": [ "ex-053" ], "reading_order": 272 }, { "id": "cutter-p048-6", "type": "paragraph", "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "english": "References. Chopin, Prelude No. 9, m. 2; Wagner, Flying Dutchman, 226.", "original": "References. Chopin, Prelude No. 9, m. 2; Wagner, Flying Dutchman, 226.", "inline": [ { "text": "References. Chopin, Prelude No. 9, m. 2; Wagner, " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 226." } ], "reading_order": 273 }, { "id": "cutter-p049-1", "type": "heading", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "heading_level": 3, "english": "Section 24. The Free Anticipation.", "original": "Section 24. The Free Anticipation.", "reading_order": 274 }, { "id": "cutter-p049-2", "type": "paragraph", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "english": "The Free Anticipation is a foreign tone, quitted by skip, which belongs to the following chord. In this respect it differs from the Free Tone.", "original": "The Free Anticipation is a foreign tone, quitted by skip, which belongs to the following chord. In this respect it differs from the Free Tone.", "inline": [ { "text": "The Free Anticipation is a foreign tone, quitted by skip, which belongs to the following chord.", "tag": "strong" }, { "text": " In this respect it differs from the Free Tone." } ], "reading_order": 275 }, { "id": "cutter-p049-3", "type": "paragraph", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "english": "Sign: F. A.", "original": "Sign: F. A.", "reading_order": 276 }, { "id": "cutter-p049-4c", "type": "caption", "english": "Ex. 54 · Veloce. B. Cutter, Etude.", "original": "Ex. 54 · Veloce. B. Cutter, Etude.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "reading_order": 277 }, { "id": "cutter-p049-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "asset_refs": [ "ex-054" ], "reading_order": 278 }, { "id": "cutter-p049-5c", "type": "caption", "english": "Ex. 55 · Andante. Brahms, Sym. No. 4.", "original": "Ex. 55 · Andante. Brahms, Sym. No. 4.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "reading_order": 279 }, { "id": "cutter-p049-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "asset_refs": [ "ex-055" ], "reading_order": 280 }, { "id": "cutter-p049-6", "type": "paragraph", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "english": "References. Beethoven, Op. 13, III, 1; Grieg, Op. 12, No. 5.", "original": "References. Beethoven, Op. 13, III, 1; Grieg, Op. 12, No. 5.", "reading_order": 281 }, { "id": "cutter-p049-7", "type": "heading", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "heading_level": 3, "english": "Section 25. The Retardation.", "original": "Section 25. The Retardation.", "reading_order": 282 }, { "id": "cutter-p049-8", "type": "paragraph", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "english": "The Retardation is a rising Suspension, and is generally accompanied by one or more Suspensions. A whole chord may also be retarded, one single chord tone, or even a foreign tone, or tones.", "original": "The Retardation is a rising Suspension, and is generally accompanied by one or more Suspensions. A whole chord may also be retarded, one single chord tone, or even a foreign tone, or tones.", "inline": [ { "text": "The Retardation is a rising Suspension", "tag": "strong" }, { "text": ", and is generally accompanied by one or more Suspensions. A whole chord may also be retarded, one single chord tone, or even a foreign tone, or tones." } ], "reading_order": 283 }, { "id": "cutter-p049-9", "type": "paragraph", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "english": "Sign: R.", "original": "Sign: R.", "reading_order": 284 }, { "id": "cutter-p049-10c", "type": "caption", "english": "Ex. 56 · Andantino. B. Cutter, Canzona.", "original": "Ex. 56 · Andantino. B. Cutter, Canzona.", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "reading_order": 285 }, { "id": "cutter-p049-10", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "asset_refs": [ "ex-056" ], "reading_order": 286 }, { "id": "cutter-p050-1c", "type": "caption", "english": "Ex. 57 · Molto Allegro. B. Cutter, Etude.", "original": "Ex. 57 · Molto Allegro. B. Cutter, Etude.", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "reading_order": 287 }, { "id": "cutter-p050-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "asset_refs": [ "ex-057" ], "reading_order": 288 }, { "id": "cutter-p050-2", "type": "paragraph", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "english": "References. Beethoven, Op. 10, No. 2, II, 10; Op. 2, No. 2, I, 60; Bizet, L’Arlésienne, Suite No. 1, I, Un poco più lento, m. 8, etc.", "original": "References. Beethoven, Op. 10, No. 2, II, 10; Op. 2, No. 2, I, 60; Bizet, L’Arlésienne, Suite No. 1, I, Un poco più lento, m. 8, etc.", "inline": [ { "text": "References. Beethoven, Op. 10, No. 2, II, 10; Op. 2, No. 2, I, 60; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 1, I, " }, { "text": "Un poco più lento", "tag": "em" }, { "text": ", m. 8, etc." } ], "reading_order": 289 }, { "id": "cutter-p050-3", "type": "heading", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "heading_level": 3, "english": "Section 26. The Organ Point; the Pedal.", "original": "Section 26. The Organ Point; the Pedal.", "reading_order": 290 }, { "id": "cutter-p050-4", "type": "paragraph", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "english": "The Organ Point is a held tone, over, or under, or around which move harmonies containing more or less frequently this held tone as a member. The Organ Point may be short—three chords in length—or it may be given great extension; the held tone may be the tonic, the dominant, or both together, the subdominant, or the mediant; and, lastly, and of frequent occurrence, the Organ Point may be broken or interrupted by rests, or may be ornamented by some foreign tone or tones.", "original": "The Organ Point is a held tone, over, or under, or around which move harmonies containing more or less frequently this held tone as a member. The Organ Point may be short—three chords in length—or it may be given great extension; the held tone may be the tonic, the dominant, or both together, the subdominant, or the mediant; and, lastly, and of frequent occurrence, the Organ Point may be broken or interrupted by rests, or may be ornamented by some foreign tone or tones.", "inline": [ { "text": "The Organ Point is a held tone, over, or under, or around which move harmonies containing more or less frequently this held tone as a member.", "tag": "strong" }, { "text": " The Organ Point may be short—three chords in length—or it may be given great extension; the held tone may be the tonic, the dominant, or both together, the subdominant, or the mediant; and, lastly, and of frequent occurrence, the Organ Point may be broken or interrupted by rests, or may be ornamented by some foreign tone or tones." } ], "reading_order": 291 }, { "id": "cutter-p050-5", "type": "paragraph", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "english": "The harmonic structure, whether above or below, is to be regarded as a thing by itself, and figured as such; if above, the actual bass is the voice immediately over the held tone, and the figuring should begin from this voice. One reason, and perhaps the best, for this procedure is as follows: if an organ point in C major, and on C, contains the succession a/f/D d/b/G, and the figuring be made to include the held tone, then the first of these two chords must be a supertonic 6/4/2; which, as the seventh in the bass does not come to a resolution, is absurd; C, then, has nothing to do with the chord.", "original": "The harmonic structure, whether above or below, is to be regarded as a thing by itself, and figured as such; if above, the actual bass is the voice immediately over the held tone, and the figuring should begin from this voice. One reason, and perhaps the best, for this procedure is as follows: if an organ point in C major, and on C, contains the succession a/f/D d/b/G, and the figuring be made to include the held tone, then the first of these two chords must be a supertonic 6/4/2; which, as the seventh in the bass does not come to a resolution, is absurd; C, then, has nothing to do with the chord.", "inline": [ { "text": "The harmonic structure, whether above or below, is to be regarded as a thing by itself, and figured as such; if above, the actual bass is the voice immediately over the held tone, and the figuring should begin from this voice. One reason, and perhaps the best, for this procedure is as follows: if an organ point in C major, and on C, contains the succession " }, { "text": "a/f/D", "tag": "em" }, { "text": " " }, { "text": "d/b/G", "tag": "em" }, { "text": ", and the figuring be made to include the held tone, then the first of these two chords must be a supertonic 6/4/2; which, as the seventh in the bass does not come to a resolution, is absurd; C, then, has nothing to do with the chord." } ], "reading_order": 292 }, { "id": "cutter-p050-6", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "asset_refs": [ "fig-050-1" ], "reading_order": 293 }, { "id": "cutter-p050-7", "type": "paragraph", "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "english": "Signs: Tonic Organ Point, T. O. P.; Dominant Organ Point, D. O. P.; Mediant Organ Point, M. O. P.; Double Organ Point, Dbl. O. P.", "original": "Signs: Tonic Organ Point, T. O. P.; Dominant Organ Point, D. O. P.; Mediant Organ Point, M. O. P.; Double Organ Point, Dbl. O. P.", "reading_order": 294 }, { "id": "cutter-p051-1c", "type": "caption", "english": "Ex. 58 · Andantino. Schumann, Op. 68.", "original": "Ex. 58 · Andantino. Schumann, Op. 68.", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "reading_order": 295 }, { "id": "cutter-p051-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "asset_refs": [ "ex-058" ], "reading_order": 296 }, { "id": "cutter-p051-2c", "type": "caption", "english": "Ex. 59 · Allegro. Beethoven, Op. 10, No. 3.", "original": "Ex. 59 · Allegro. Beethoven, Op. 10, No. 3.", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "reading_order": 297 }, { "id": "cutter-p051-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "asset_refs": [ "ex-059" ], "reading_order": 298 }, { "id": "cutter-p051-3c", "type": "caption", "english": "Ex. 60 · Moderato. Mendelssohn.", "original": "Ex. 60 · Moderato. Mendelssohn.", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "reading_order": 299 }, { "id": "cutter-p051-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "asset_refs": [ "ex-060" ], "reading_order": 300 }, { "id": "cutter-p052-1c", "type": "caption", "english": "Ex. 61 · Allegro assai. Bizet, L’Arlésienne.", "original": "Ex. 61 · Allegro assai. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "reading_order": 301 }, { "id": "cutter-p052-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "asset_refs": [ "ex-061" ], "reading_order": 302 }, { "id": "cutter-p052-2", "type": "paragraph", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "english": "References. Beethoven, Op. 2, No. 3, III, 29; Op. 10, No. 3, I, 93; Schumann, Op. 12, No. 8, m. 45; Grieg, Op. 6, Nos. 1 and 4; Op. 19, No. 2; Chopin, Prelude, No. 8, and Nocturne, No. 2, m. 1; Bizet, L’Arlésienne, Suite 1, Le Carillon: Wagner, Flying Dutchman, 125.", "original": "References. Beethoven, Op. 2, No. 3, III, 29; Op. 10, No. 3, I, 93; Schumann, Op. 12, No. 8, m. 45; Grieg, Op. 6, Nos. 1 and 4; Op. 19, No. 2; Chopin, Prelude, No. 8, and Nocturne, No. 2, m. 1; Bizet, L’Arlésienne, Suite 1, Le Carillon: Wagner, Flying Dutchman, 125.", "inline": [ { "text": "References. Beethoven, Op. 2, No. 3, III, 29; Op. 10, No. 3, I, 93; Schumann, Op. 12, No. 8, m. 45; Grieg, Op. 6, Nos. 1 and 4; Op. 19, No. 2; Chopin, Prelude, No. 8, and Nocturne, No. 2, m. 1; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite 1, " }, { "text": "Le Carillon", "tag": "em" }, { "text": ": Wagner, " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 125." } ], "reading_order": 303 }, { "id": "cutter-p052-3", "type": "heading", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "heading_level": 3, "english": "Section 27. Dispersion of Chord Members.", "original": "Section 27. Dispersion of Chord Members.", "reading_order": 304 }, { "id": "cutter-p052-4", "type": "paragraph", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "english": "The normal chord change is a simultaneous one. The members of a chord may, however, enter at different points of the measure, and the harmony must be determined by picking out the various chord tones. Principle No. 4 must be borne in mind. Such irregular entrances are made only on principal chords; for a subordinate chord, used in such a manner, would weaken, perhaps destroy, the key character—which is absurd. These irregular entrances may be caused by any of the foreign tones.", "original": "The normal chord change is a simultaneous one. The members of a chord may, however, enter at different points of the measure, and the harmony must be determined by picking out the various chord tones. Principle No. 4 must be borne in mind. Such irregular entrances are made only on principal chords; for a subordinate chord, used in such a manner, would weaken, perhaps destroy, the key character—which is absurd. These irregular entrances may be caused by any of the foreign tones.", "reading_order": 305 }, { "id": "cutter-p052-5c", "type": "caption", "english": "Ex. 62 · Con anima. Schumann, Op. 68.", "original": "Ex. 62 · Con anima. Schumann, Op. 68.", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "reading_order": 306 }, { "id": "cutter-p052-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "asset_refs": [ "ex-062" ], "reading_order": 307 }, { "id": "cutter-p052-6c", "type": "caption", "english": "Ex. 63 · Agitato. Ibid.", "original": "Ex. 63 · Agitato. Ibid.", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "reading_order": 308 }, { "id": "cutter-p052-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "asset_refs": [ "ex-063" ], "reading_order": 309 }, { "id": "cutter-p052-7", "type": "paragraph", "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "english": "References. Schumann, Op. 68, No. 20, m. 23; Chopin, Prelude 5.", "original": "References. Schumann, Op. 68, No. 20, m. 23; Chopin, Prelude 5.", "reading_order": 310 }, { "id": "cutter-p053-1", "type": "heading", "sources": [ { "pdf_page": 53, "source_image": "source-pages/p-053.jpg", "printed_page": 38 } ], "heading_level": 3, "english": "Section 28. Tones sustained by Damper Pedal of the Piano.", "original": "Section 28. Tones sustained by Damper Pedal of the Piano.", "reading_order": 311 }, { "id": "cutter-p053-2", "type": "paragraph", "sources": [ { "pdf_page": 53, "source_image": "source-pages/p-053.jpg", "printed_page": 38 } ], "english": "Mistakes are often made in the analysis of piano music by overlooking the continuance of a tone by the damper pedal after the key struck has been quitted by the finger. Neglect of this point will often render an analysis quite incorrect. In music carelessly marked as to the pedal signs—in Schumann, for example—some discretion is called for; it may, indeed, become necessary to supply missing signs. Use the principal chords.", "original": "Mistakes are often made in the analysis of piano music by overlooking the continuance of a tone by the damper pedal after the key struck has been quitted by the finger. Neglect of this point will often render an analysis quite incorrect. In music carelessly marked as to the pedal signs—in Schumann, for example—some discretion is called for; it may, indeed, become necessary to supply missing signs. Use the principal chords.", "reading_order": 312 }, { "id": "cutter-p053-3c", "type": "caption", "english": "Ex. 64 · Lento, con tenerezza. Schumann, Op. 68.", "original": "Ex. 64 · Lento, con tenerezza. Schumann, Op. 68.", "sources": [ { "pdf_page": 53, "source_image": "source-pages/p-053.jpg", "printed_page": 38 } ], "reading_order": 313 }, { "id": "cutter-p053-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 53, "source_image": "source-pages/p-053.jpg", "printed_page": 38 } ], "asset_refs": [ "ex-064" ], "reading_order": 314 }, { "id": "cutter-p054-1", "type": "heading", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "heading_level": 2, "english": "PART THREE. MODULATION IN GENERAL, THE ALTERED CHORDS, ETC.", "original": "PART THREE. MODULATION IN GENERAL, THE ALTERED CHORDS, ETC.", "reading_order": 315 }, { "id": "cutter-p054-2", "type": "heading", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "heading_level": 3, "english": "Section 29. Altered Chords.", "original": "Section 29. Altered Chords.", "reading_order": 316 }, { "id": "cutter-p054-3", "type": "paragraph", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "english": "Altered Chords, which have already been touched upon, may be known by their resolutions. An Altered Chord moves to a principal chord of the key in which it, the altered chord, is chromatic.", "original": "Altered Chords, which have already been touched upon, may be known by their resolutions. An Altered Chord moves to a principal chord of the key in which it, the altered chord, is chromatic.", "inline": [ { "text": "Altered Chords", "tag": "strong" }, { "text": ", which have already been touched upon, " }, { "text": "may be known by their resolutions. An Altered Chord moves to a principal chord of the key in which it, the altered chord, is chromatic.", "tag": "strong" } ], "reading_order": 317 }, { "id": "cutter-p054-4", "type": "paragraph", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "english": "Any step of a scale, major or minor, may be changed chromatically, some of the changes being the result of passing tones, others being chord changes made to heighten the effect of the chord itself. Thus, in the latter case, the natural tendency of the supertonic seventh chord toward the dominant, or toward its chord of introduction, the tonic six-four, is increased in the major mode, if by lowering the fifth of the supertonic chord this supertonic be made somewhat more dissonant.", "original": "Any step of a scale, major or minor, may be changed chromatically, some of the changes being the result of passing tones, others being chord changes made to heighten the effect of the chord itself. Thus, in the latter case, the natural tendency of the supertonic seventh chord toward the dominant, or toward its chord of introduction, the tonic six-four, is increased in the major mode, if by lowering the fifth of the supertonic chord this supertonic be made somewhat more dissonant.", "reading_order": 318 }, { "id": "cutter-p054-5", "type": "paragraph", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "english": "It must ever be borne in mind that many chords are definable as Altered Chords only through their surroundings.", "original": "It must ever be borne in mind that many chords are definable as Altered Chords only through their surroundings.", "inline": [ { "text": "It must ever be borne in mind that " }, { "text": "many chords are definable as Altered Chords only through their surroundings.", "tag": "strong" } ], "reading_order": 319 }, { "id": "cutter-p054-6", "type": "paragraph", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "english": "What, for example, might cause the mental effect of a modulation in a slow tempo, must be regarded as a chromatic alteration in a rapid movement.", "original": "What, for example, might cause the mental effect of a modulation in a slow tempo, must be regarded as a chromatic alteration in a rapid movement.", "reading_order": 320 }, { "id": "cutter-p054-7", "type": "heading", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "heading_level": 3, "english": "Section 30. The Supertonic Seventh with Sharp Third.", "original": "Section 30. The Supertonic Seventh with Sharp Third.", "reading_order": 321 }, { "id": "cutter-p054-8c", "type": "caption", "english": "Ex. 65 · Allegro. Beethoven, Op. 14.", "original": "Ex. 65 · Allegro. Beethoven, Op. 14.", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "reading_order": 322 }, { "id": "cutter-p054-8", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "asset_refs": [ "ex-065" ], "reading_order": 323 }, { "id": "cutter-p055-1c", "type": "caption", "english": "Ex. 66 · Andante con moto. Mendelssohn, Song without Words.", "original": "Ex. 66 · Andante con moto. Mendelssohn, Song without Words.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "reading_order": 324 }, { "id": "cutter-p055-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "asset_refs": [ "ex-066" ], "reading_order": 325 }, { "id": "cutter-p055-2", "type": "paragraph", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "english": "References. Beethoven, Op. 7, II, 19, 23; Op. 10, No. 2, I, 57; Op. 10, No. 3, II, 5; Chopin, Prelude 13, più lento, m. 7; Schumann, Op. 12, No. 3, m. 1.", "original": "References. Beethoven, Op. 7, II, 19, 23; Op. 10, No. 2, I, 57; Op. 10, No. 3, II, 5; Chopin, Prelude 13, più lento, m. 7; Schumann, Op. 12, No. 3, m. 1.", "inline": [ { "text": "References. Beethoven, Op. 7, II, 19, 23; Op. 10, No. 2, I, 57; Op. 10, No. 3, II, 5; Chopin, Prelude 13, " }, { "text": "più lento", "tag": "em" }, { "text": ", m. 7; Schumann, Op. 12, No. 3, m. 1." } ], "reading_order": 326 }, { "id": "cutter-p055-3", "type": "heading", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "heading_level": 3, "english": "Section 31. Other Altered Steps.", "original": "Section 31. Other Altered Steps.", "reading_order": 327 }, { "id": "cutter-p055-4", "type": "paragraph", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "english": "Made so by their surroundings.", "original": "Made so by their surroundings.", "reading_order": 328 }, { "id": "cutter-p055-5c", "type": "caption", "english": "Ex. 67 · Allegro. Mozart, Sonata.", "original": "Ex. 67 · Allegro. Mozart, Sonata.", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "reading_order": 329 }, { "id": "cutter-p055-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "asset_refs": [ "ex-067" ], "reading_order": 330 }, { "id": "cutter-p056-1c", "type": "caption", "english": "Ex. 68 · Molto cantabile. Schumann, Op. 68.", "original": "Ex. 68 · Molto cantabile. Schumann, Op. 68.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "reading_order": 331 }, { "id": "cutter-p056-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "asset_refs": [ "ex-068" ], "reading_order": 332 }, { "id": "cutter-p056-2c", "type": "caption", "english": "Ex. 69 · Andante. Brahms, Op. 45.", "original": "Ex. 69 · Andante. Brahms, Op. 45.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "reading_order": 333 }, { "id": "cutter-p056-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "asset_refs": [ "ex-069" ], "reading_order": 334 }, { "id": "cutter-p056-3c", "type": "caption", "english": "Ex. 70 · Andantino. Schumann, Op. 15.", "original": "Ex. 70 · Andantino. Schumann, Op. 15.", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "reading_order": 335 }, { "id": "cutter-p056-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "asset_refs": [ "ex-070" ], "reading_order": 336 }, { "id": "cutter-p056-4", "type": "paragraph", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "english": "References. Beethoven, Op. 10, No. 1, III, 37; Grieg, Op. 6, No. 4, m. 3; Czerny, Op. 299, No. 27; Cramer, Etude 9, m. 50; Etude 19, m. 7; Chopin, Nocturne No. 2, m. 11; No. 6, m. 81; Schumann, Op. 68, No. 17, m. 13 and 17; No. 26, m. 3; No. 28, m. 3, 7, 20; No. 30, m. 2, 3, 7; No. 38, m. 3; No. 39, m. 27; Bizet, L’Arlésienne, Suite I, First Movement, Tempo I; Wagner, Tannhäuser, 211, 220, 238, 254; Flying Dutchman, 13.", "original": "References. Beethoven, Op. 10, No. 1, III, 37; Grieg, Op. 6, No. 4, m. 3; Czerny, Op. 299, No. 27; Cramer, Etude 9, m. 50; Etude 19, m. 7; Chopin, Nocturne No. 2, m. 11; No. 6, m. 81; Schumann, Op. 68, No. 17, m. 13 and 17; No. 26, m. 3; No. 28, m. 3, 7, 20; No. 30, m. 2, 3, 7; No. 38, m. 3; No. 39, m. 27; Bizet, L’Arlésienne, Suite I, First Movement, Tempo I; Wagner, Tannhäuser, 211, 220, 238, 254; Flying Dutchman, 13.", "inline": [ { "text": "References. Beethoven, Op. 10, No. 1, III, 37; Grieg, Op. 6, No. 4, m. 3; Czerny, Op. 299, No. 27; Cramer, Etude 9, m. 50; Etude 19, m. 7; Chopin, Nocturne No. 2, m. 11; No. 6, m. 81; Schumann, Op. 68, No. 17, m. 13 and 17; No. 26, m. 3; No. 28, m. 3, 7, 20; No. 30, m. 2, 3, 7; No. 38, m. 3; No. 39, m. 27; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite I, First Movement, Tempo I; Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 211, 220, 238, 254; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 13." } ], "reading_order": 337 }, { "id": "cutter-p056-5", "type": "heading", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "heading_level": 3, "english": "Section 32. Apparent and Real Modulations.", "original": "Section 32. Apparent and Real Modulations.", "reading_order": 338 }, { "id": "cutter-p056-6", "type": "paragraph", "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "english": "These Apparent Modulations may often be regarded as intensifications of secondary scale steps, through the precedent use of their apparent dominant or diminished seventh chords—as has already been stated: or, as a series of dominant seventh chords preceding a cadence, the roots involved being usually the iii, vi, ii, V, I (see Appendix, No. 1).", "original": "These Apparent Modulations may often be regarded as intensifications of secondary scale steps, through the precedent use of their apparent dominant or diminished seventh chords—as has already been stated: or, as a series of dominant seventh chords preceding a cadence, the roots involved being usually the iii, vi, ii, V, I (see Appendix, No. 1).", "inline": [ { "text": "These Apparent Modulations may often be regarded as intensifications of secondary scale steps, through the precedent use of their apparent dominant or diminished seventh chords", "tag": "strong" }, { "text": "—as has already been stated: " }, { "text": "or, as a series of dominant seventh chords preceding a cadence,", "tag": "strong" }, { "text": " the roots involved being usually the iii, vi, ii, V, I (see Appendix, No. 1)." } ], "reading_order": 339 }, { "id": "cutter-p057-1", "type": "paragraph", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "english": "Whether or not real modulations are present, each analyst must decide for himself. At all events, the succession iii, vi, ii, V, with or without sevenths, and in whatever form, is one which confirms the ultimate tonic; it is one in which, however strong these questionable key impressions may be, the total impression is one of pushing on to the close in that final tonic harmony which rounds out the whole. This feature of the thing leads many to say “altered chords” where the man of the old school says “modulation.”", "original": "Whether or not real modulations are present, each analyst must decide for himself. At all events, the succession iii, vi, ii, V, with or without sevenths, and in whatever form, is one which confirms the ultimate tonic; it is one in which, however strong these questionable key impressions may be, the total impression is one of pushing on to the close in that final tonic harmony which rounds out the whole. This feature of the thing leads many to say “altered chords” where the man of the old school says “modulation.”", "reading_order": 340 }, { "id": "cutter-p057-2c", "type": "caption", "english": "Ex. 71 · Andante. Schubert, Violin Sonata.", "original": "Ex. 71 · Andante. Schubert, Violin Sonata.", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "reading_order": 341 }, { "id": "cutter-p057-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "asset_refs": [ "ex-071" ], "reading_order": 342 }, { "id": "cutter-p057-3c", "type": "caption", "english": "Ex. 72 · Allegro deciso. Schumann, Op. 15.", "original": "Ex. 72 · Allegro deciso. Schumann, Op. 15.", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "reading_order": 343 }, { "id": "cutter-p057-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "asset_refs": [ "ex-072" ], "reading_order": 344 }, { "id": "cutter-p058-1c", "type": "caption", "english": "Ex. 73 · Andante maestoso. Wagner, Tannhäuser.", "original": "Ex. 73 · Andante maestoso. Wagner, Tannhäuser.", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "reading_order": 345 }, { "id": "cutter-p058-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "asset_refs": [ "ex-073" ], "reading_order": 346 }, { "id": "cutter-p058-2c", "type": "caption", "english": "Ex. 74 · Tempo di marcia. Bizet, L’Arlésienne.", "original": "Ex. 74 · Tempo di marcia. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "reading_order": 347 }, { "id": "cutter-p058-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "asset_refs": [ "ex-074" ], "reading_order": 348 }, { "id": "cutter-p058-3", "type": "paragraph", "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "english": "References. Wagner, Tannhäuser, 121, 236; Flying Dutchman, 75 (poco ritenuto), 100.", "original": "References. Wagner, Tannhäuser, 121, 236; Flying Dutchman, 75 (poco ritenuto), 100.", "inline": [ { "text": "References. Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 121, 236; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 75 (" }, { "text": "poco ritenuto", "tag": "em" }, { "text": "), 100." } ], "reading_order": 349 }, { "id": "cutter-p059-1", "type": "heading", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "heading_level": 3, "english": "Section 33. Consecutive Dominant Sevenths.", "original": "Section 33. Consecutive Dominant Sevenths.", "reading_order": 350 }, { "id": "cutter-p059-2", "type": "paragraph", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "english": "Mark each chord according to its apparent key.", "original": "Mark each chord according to its apparent key.", "inline": [ { "text": "Mark each chord according to its apparent key.", "tag": "strong" } ], "reading_order": 351 }, { "id": "cutter-p059-3c", "type": "caption", "english": "Ex. 75 · Andante sostenuto assai. Bizet, L’Arlésienne.", "original": "Ex. 75 · Andante sostenuto assai. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "reading_order": 352 }, { "id": "cutter-p059-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "asset_refs": [ "ex-075" ], "reading_order": 353 }, { "id": "cutter-p059-4", "type": "paragraph", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "english": "References. Beethoven, Op. 10, No. 3, III, 17; Op. 22, II, 34; Chopin, Prelude No. 8, m. 7; Cramer, Etude 18, m. 9.", "original": "References. Beethoven, Op. 10, No. 3, III, 17; Op. 22, II, 34; Chopin, Prelude No. 8, m. 7; Cramer, Etude 18, m. 9.", "reading_order": 354 }, { "id": "cutter-p059-5", "type": "heading", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "heading_level": 3, "english": "Section 34. Enharmonics.", "original": "Section 34. Enharmonics.", "reading_order": 355 }, { "id": "cutter-p059-6", "type": "paragraph", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "english": "Enharmonic notation is the use of that double notation which may be applied to any tone; thus F♯ may be written G♭, or E, F♭. Enharmonics are used:—", "original": "Enharmonic notation is the use of that double notation which may be applied to any tone; thus F♯ may be written G♭, or E, F♭. Enharmonics are used:—", "reading_order": 356 }, { "id": "cutter-p059-7", "type": "paragraph", "english": "As a means of modulation;\nAs a means of simplifying the reading or playing of a passage, which, if written out logically, would pass through a remote and difficult key;\nAs the result of careless or wilful notation.", "original": "As a means of modulation;\nAs a means of simplifying the reading or playing of a passage, which, if written out logically, would pass through a remote and difficult key;\nAs the result of careless or wilful notation.", "ordered": true, "list_items": [ [ { "text": "As a means of modulation", "tag": "strong" }, { "text": ";" } ], [ { "text": "As a means of simplifying", "tag": "strong" }, { "text": " the reading or playing of a passage, which, if written out logically, would pass through a remote and difficult key;" } ], [ { "text": "As the result of careless or wilful notation.", "tag": "strong" } ] ], "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "reading_order": 357 }, { "id": "cutter-p059-8", "type": "paragraph", "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 }, { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "english": "It is probable that no feature in Analysis causes trouble equal to that given by Enharmonic Notation, especially by that careless and illogical kind last mentioned, which is remarkably common in modern music. Countless cases exist in which the ear hears one thing,—the impression of a key, an impression consistent and undisturbed,—while on the paper the eye beholds another thing—two contradictory keys. In a passage in sharps, for instance, stands a flat chord, and the mind through the eye is aware of a hitch, unwarrantable and without reason, while to the ear all is smooth and satisfactory. Such a passage will oblige the student to find and to change mentally the enharmonics to their correct and legitimate notation, if he would account for things satisfactorily.", "original": "It is probable that no feature in Analysis causes trouble equal to that given by Enharmonic Notation, especially by that careless and illogical kind last mentioned, which is remarkably common in modern music. Countless cases exist in which the ear hears one thing,—the impression of a key, an impression consistent and undisturbed,—while on the paper the eye beholds another thing—two contradictory keys. In a passage in sharps, for instance, stands a flat chord, and the mind through the eye is aware of a hitch, unwarrantable and without reason, while to the ear all is smooth and satisfactory. Such a passage will oblige the student to find and to change mentally the enharmonics to their correct and legitimate notation, if he would account for things satisfactorily.", "reading_order": 358 }, { "id": "cutter-p060-2", "type": "paragraph", "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "english": "General Rules are these:—", "original": "General Rules are these:—", "reading_order": 359 }, { "id": "cutter-p060-3", "type": "paragraph", "english": "When a passage, in flats, for instance, goes into sharps, and stays there permanently, the chord where the change of accidentals occurs will contain the tone or tones enharmonically altered; in such a case a definite modulation is made and is to be recognized as such (see Ex. 76);\nWhen, for example, in a passage in sharps, a few measures are written in flats and are followed by sharps again, this passage in flats should be regarded as an enharmonic notation of the sharp strain, and in marking it two methods may be employed: (a) the chords may be marked as they appear to the eye, and “Enh. Not. of such and such a key” be added, or, the better way, (b) the chords may be marked as they sound and hang together, not as they are notated, and “Enh. Not.” be added (see Ex. 77);\nWhen an occasional contradictory chromatic intrudes, it may be readily changed for its rightful equivalent by spelling the chord in question and finding the tone foreign to the scale (see Ex. 79).", "original": "When a passage, in flats, for instance, goes into sharps, and stays there permanently, the chord where the change of accidentals occurs will contain the tone or tones enharmonically altered; in such a case a definite modulation is made and is to be recognized as such (see Ex. 76);\nWhen, for example, in a passage in sharps, a few measures are written in flats and are followed by sharps again, this passage in flats should be regarded as an enharmonic notation of the sharp strain, and in marking it two methods may be employed: (a) the chords may be marked as they appear to the eye, and “Enh. Not. of such and such a key” be added, or, the better way, (b) the chords may be marked as they sound and hang together, not as they are notated, and “Enh. Not.” be added (see Ex. 77);\nWhen an occasional contradictory chromatic intrudes, it may be readily changed for its rightful equivalent by spelling the chord in question and finding the tone foreign to the scale (see Ex. 79).", "ordered": true, "list_items": [ [ { "text": "When a passage, in flats, for instance, goes into sharps, and stays there permanently, the chord where the change of accidentals occurs will contain the tone or tones enharmonically altered; in such a case a definite modulation is made and is to be recognized as such (see Ex. 76);" } ], [ { "text": "When, for example, in a passage in sharps, a few measures are written in flats and are followed by sharps again, this passage in flats should be regarded as an enharmonic notation of the sharp strain, and in marking it two methods may be employed: (" }, { "text": "a", "tag": "em" }, { "text": ") the chords may be marked as they appear to the eye, and “Enh. Not. of such and such a key” be added, or, " }, { "text": "the better way", "tag": "em" }, { "text": ", (" }, { "text": "b", "tag": "em" }, { "text": ") the chords may be marked as they sound and hang together, not as they are notated, and “Enh. Not.” be added (see Ex. 77);" } ], [ { "text": "When an occasional contradictory chromatic intrudes, it may be readily changed for its rightful equivalent by spelling the chord in question and finding the tone foreign to the scale (see Ex. 79)." } ] ], "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "reading_order": 360 }, { "id": "cutter-p060-4", "type": "paragraph", "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "english": "In marking the exercises it may be necessary to use words instead of signs. The author has indicated above some of the exercises the question the scholar is to ask himself, and below the manner of marking.", "original": "In marking the exercises it may be necessary to use words instead of signs. The author has indicated above some of the exercises the question the scholar is to ask himself, and below the manner of marking.", "inline": [ { "text": "In marking the exercises it may be necessary to use words instead of signs. The author has indicated " }, { "text": "above", "tag": "em" }, { "text": " some of the exercises the question the scholar is to ask himself, and " }, { "text": "below", "tag": "em" }, { "text": " the manner of marking." } ], "reading_order": 361 }, { "id": "cutter-p060-5c", "type": "caption", "english": "Ex. 76 · Vivace. Schubert, Song.", "original": "Ex. 76 · Vivace. Schubert, Song.", "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "reading_order": 362 }, { "id": "cutter-p060-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "asset_refs": [ "ex-076" ], "reading_order": 363 }, { "id": "cutter-p061-1c", "type": "caption", "english": "Ex. 77 · Allegro giocoso. Bizet, L’Arlésienne.", "original": "Ex. 77 · Allegro giocoso. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_page": 46 } ], "reading_order": 364 }, { "id": "cutter-p061-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_page": 46 } ], "asset_refs": [ "ex-077" ], "reading_order": 365 }, { "id": "cutter-p061-2c", "type": "caption", "english": "Ex. 78 · Poco andantino. Franck, L’Organiste.", "original": "Ex. 78 · Poco andantino. Franck, L’Organiste.", "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_page": 46 } ], "reading_order": 366 }, { "id": "cutter-p061-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_page": 46 } ], "asset_refs": [ "ex-078" ], "reading_order": 367 }, { "id": "cutter-p062-1c", "type": "caption", "english": "Ex. 79 · Allegro. Godard, Violin Sonata", "original": "Ex. 79 · Allegro. Godard, Violin Sonata", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "reading_order": 368 }, { "id": "cutter-p062-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "asset_refs": [ "ex-079" ], "reading_order": 369 }, { "id": "cutter-p062-2c", "type": "caption", "english": "Ex. 80 · Non troppo lento. Franck, L’Organiste.", "original": "Ex. 80 · Non troppo lento. Franck, L’Organiste.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "reading_order": 370 }, { "id": "cutter-p062-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "asset_refs": [ "ex-080" ], "reading_order": 371 }, { "id": "cutter-p062-3c", "type": "caption", "english": "Ex. 81 · Moderato. Wagner, Lohengrin.", "original": "Ex. 81 · Moderato. Wagner, Lohengrin.", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "reading_order": 372 }, { "id": "cutter-p062-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "asset_refs": [ "ex-081" ], "reading_order": 373 }, { "id": "cutter-p063-1c", "type": "caption", "english": "Ex. 82 · Allegretto. Franck, L’Organiste.", "original": "Ex. 82 · Allegretto. Franck, L’Organiste.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_page": 48 } ], "reading_order": 374 }, { "id": "cutter-p063-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_page": 48 } ], "asset_refs": [ "ex-082" ], "reading_order": 375 }, { "id": "cutter-p063-2c", "type": "caption", "english": "Ex. 83 · Presto con fuoco. Chopin, Prelude.", "original": "Ex. 83 · Presto con fuoco. Chopin, Prelude.", "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_page": 48 } ], "reading_order": 376 }, { "id": "cutter-p063-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_page": 48 } ], "asset_refs": [ "ex-083" ], "reading_order": 377 }, { "id": "cutter-p064-1", "type": "paragraph", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "english": "References. Schumann, Op. 12, No. 2, m. 17; No. 8, m. 1; Chopin, Nocturne No. 9, m. 62; Prelude 12, m. 12; Prelude 8, m. 22; Prelude 19, m. 21, Wagner, Lohengrin, p. 14, 19, 22; Tannhäuser, 144, 246; Flying Dutchman, 41.", "original": "References. Schumann, Op. 12, No. 2, m. 17; No. 8, m. 1; Chopin, Nocturne No. 9, m. 62; Prelude 12, m. 12; Prelude 8, m. 22; Prelude 19, m. 21, Wagner, Lohengrin, p. 14, 19, 22; Tannhäuser, 144, 246; Flying Dutchman, 41.", "inline": [ { "text": "References. Schumann, Op. 12, No. 2, m. 17; No. 8, m. 1; Chopin, Nocturne No. 9, m. 62; Prelude 12, m. 12; Prelude 8, m. 22; Prelude 19, m. 21, Wagner, " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", p. 14, 19, 22; " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 144, 246; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 41." } ], "reading_order": 378 }, { "id": "cutter-p064-2", "type": "heading", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "heading_level": 3, "english": "Section 35. Modulation through the Six-Four.", "original": "Section 35. Modulation through the Six-Four.", "reading_order": 379 }, { "id": "cutter-p064-3c", "type": "caption", "english": "Ex. 84 · Allegro molto. Beethoven, Op. 7.", "original": "Ex. 84 · Allegro molto. Beethoven, Op. 7.", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "reading_order": 380 }, { "id": "cutter-p064-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "asset_refs": [ "ex-084" ], "reading_order": 381 }, { "id": "cutter-p064-4", "type": "paragraph", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "english": "References. Chopin, Polonaise No. 3, m. 41; Wagner, Tannhäuser, 224.", "original": "References. Chopin, Polonaise No. 3, m. 41; Wagner, Tannhäuser, 224.", "inline": [ { "text": "References. Chopin, Polonaise No. 3, m. 41; Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 224." } ], "reading_order": 382 }, { "id": "cutter-p064-5", "type": "heading", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "heading_level": 3, "english": "Section 36. Assumption of Key.", "original": "Section 36. Assumption of Key.", "reading_order": 383 }, { "id": "cutter-p064-6", "type": "paragraph", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "english": "A modulation may be made by assuming, taking, a new key. The chord taken may be a tonic or a dominant, preferably the former, and a regular progression will confirm the key effect. This procedure is often made in sequence form, and by hitches of a third.", "original": "A modulation may be made by assuming, taking, a new key. The chord taken may be a tonic or a dominant, preferably the former, and a regular progression will confirm the key effect. This procedure is often made in sequence form, and by hitches of a third.", "inline": [ { "text": "A modulation may be made by assuming, taking, a new key.", "tag": "strong" }, { "text": " The chord taken may be a tonic or a dominant, preferably the former, and a regular progression will confirm the key effect. This procedure is often made in sequence form, and by hitches of a third." } ], "reading_order": 384 }, { "id": "cutter-p064-7c", "type": "caption", "english": "Ex. 85 · Allegro. Schubert, Sonata.", "original": "Ex. 85 · Allegro. Schubert, Sonata.", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "reading_order": 385 }, { "id": "cutter-p064-7", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "asset_refs": [ "ex-085" ], "reading_order": 386 }, { "id": "cutter-p065-2", "type": "paragraph", "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "english": "References. Beethoven, Op. 10, No. 3, I, second part, m. 92; Chopin, Prelude 9; Wagner, Tannhäuser, pp. 7, 49, 245; Flying Dutchman, 36, m. 13.", "original": "References. Beethoven, Op. 10, No. 3, I, second part, m. 92; Chopin, Prelude 9; Wagner, Tannhäuser, pp. 7, 49, 245; Flying Dutchman, 36, m. 13.", "inline": [ { "text": "References. Beethoven, Op. 10, No. 3, I, second part, m. 92; Chopin, Prelude 9; Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", pp. 7, 49, 245; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 36, m. 13." } ], "reading_order": 387 }, { "id": "cutter-p065-3", "type": "heading", "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "heading_level": 3, "english": "Section 37. Incomplete Modulation.", "original": "Section 37. Incomplete Modulation.", "reading_order": 388 }, { "id": "cutter-p065-4", "type": "paragraph", "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "english": "A progression is sometimes made to a foreign major triad, which triad, by reason of its place at the end of a phrase or section, holds the mind in suspense, and thus performs the function of a dominant harmony. Although the apparent modulation be not completed, it is well to mark such a chord as modulatory, including as many of the preceding chords as may rationally belong to the key. This kind of a progression occurs many times in Wagner as a vi V, or IV V. Remember Principle No. 5.", "original": "A progression is sometimes made to a foreign major triad, which triad, by reason of its place at the end of a phrase or section, holds the mind in suspense, and thus performs the function of a dominant harmony. Although the apparent modulation be not completed, it is well to mark such a chord as modulatory, including as many of the preceding chords as may rationally belong to the key. This kind of a progression occurs many times in Wagner as a vi V, or IV V. Remember Principle No. 5.", "reading_order": 389 }, { "id": "cutter-p065-5c", "type": "caption", "english": "Ex. 86 · Allegro ma non troppo. Schubert, Quintet.", "original": "Ex. 86 · Allegro ma non troppo. Schubert, Quintet.", "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "reading_order": 390 }, { "id": "cutter-p065-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "asset_refs": [ "ex-086" ], "reading_order": 391 }, { "id": "cutter-p066-2", "type": "paragraph", "sources": [ { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 51 } ], "english": "References. Wagner, Tannhäuser, 124, 233, 234; Flying Dutchman, 3.", "original": "References. Wagner, Tannhäuser, 124, 233, 234; Flying Dutchman, 3.", "inline": [ { "text": "References. Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 124, 233, 234; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 3." } ], "reading_order": 392 }, { "id": "cutter-p066-3", "type": "heading", "sources": [ { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 51 } ], "heading_level": 3, "english": "Section 38. The Deceptive Resolution.", "original": "Section 38. The Deceptive Resolution.", "reading_order": 393 }, { "id": "cutter-p066-4c", "type": "caption", "english": "Ex. 87 · Poco animato. Wagner, Götterdämmerung.", "original": "Ex. 87 · Poco animato. Wagner, Götterdämmerung.", "sources": [ { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 51 } ], "reading_order": 394 }, { "id": "cutter-p066-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 51 } ], "asset_refs": [ "ex-087" ], "reading_order": 395 }, { "id": "cutter-p067-2", "type": "paragraph", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "english": "References. Beethoven, Op. 7, II, 20; Chopin, Prelude No. 13, m. 15; Prelude, Op. 45; Schumann, Op. 12, No. 8, Coda; Wagner, Lohengrin, p. 51, m. 2; also pp. 64, 65; Tannhäuser, pp. 4, 37, 146, 157, 256; Flying Dutchman, 119, 227.", "original": "References. Beethoven, Op. 7, II, 20; Chopin, Prelude No. 13, m. 15; Prelude, Op. 45; Schumann, Op. 12, No. 8, Coda; Wagner, Lohengrin, p. 51, m. 2; also pp. 64, 65; Tannhäuser, pp. 4, 37, 146, 157, 256; Flying Dutchman, 119, 227.", "inline": [ { "text": "References. Beethoven, Op. 7, II, 20; Chopin, Prelude No. 13, m. 15; Prelude, Op. 45; Schumann, Op. 12, No. 8, Coda; Wagner, " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", p. 51, m. 2; also pp. 64, 65; " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", pp. 4, 37, 146, 157, 256; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 119, 227." } ], "reading_order": 396 }, { "id": "cutter-p067-3", "type": "heading", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "heading_level": 3, "english": "Section 39. Passing Diminished Seventh Chords.", "original": "Section 39. Passing Diminished Seventh Chords.", "reading_order": 397 }, { "id": "cutter-p067-4", "type": "paragraph", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "english": "These usually rise or fall by seconds, major or minor, most often the latter. Composers notate them very irregularly. The roots appear here and there, as is shown in the Examples below, and often in a very arbitrary manner. A general rule of notation is as follows: When these chords move along the chromatic scale, every fourth chord should have the same root. This is also shown below. In phrases of this nature, no firm hold is felt of any key, except at the ends of the phrase or section—everything is passing, fleeting, which lies between these bounds.", "original": "These usually rise or fall by seconds, major or minor, most often the latter. Composers notate them very irregularly. The roots appear here and there, as is shown in the Examples below, and often in a very arbitrary manner. A general rule of notation is as follows: When these chords move along the chromatic scale, every fourth chord should have the same root. This is also shown below. In phrases of this nature, no firm hold is felt of any key, except at the ends of the phrase or section—everything is passing, fleeting, which lies between these bounds.", "reading_order": 398 }, { "id": "cutter-p067-5", "type": "paragraph", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "english": "Mark each and every chord according to its notation, or, what is better, mark the chords at the ends of each phrase or section, and pass over the other chords.", "original": "Mark each and every chord according to its notation, or, what is better, mark the chords at the ends of each phrase or section, and pass over the other chords.", "inline": [ { "text": "Mark each and every chord according to its notation, or,", "tag": "strong" }, { "text": " what is better, " }, { "text": "mark the chords at the ends of each phrase or section, and pass over the other chords.", "tag": "strong" } ], "reading_order": 399 }, { "id": "cutter-p067-6c", "type": "caption", "english": "Ex. 88 · Largo e mesto. Beethoven, Op. 10.", "original": "Ex. 88 · Largo e mesto. Beethoven, Op. 10.", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "reading_order": 400 }, { "id": "cutter-p067-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "asset_refs": [ "ex-088" ], "reading_order": 401 }, { "id": "cutter-p068-2", "type": "footnote", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 53 } ], "english": "* See Principle No. 5.", "original": "* See Principle No. 5.", "reading_order": 402 }, { "id": "cutter-p068-3c", "type": "caption", "english": "Ex. 89 · Allegro ma non troppo. Liszt, Les Préludes.", "original": "Ex. 89 · Allegro ma non troppo. Liszt, Les Préludes.", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 53 } ], "reading_order": 403 }, { "id": "cutter-p068-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 53 } ], "asset_refs": [ "ex-089" ], "reading_order": 404 }, { "id": "cutter-p068-4", "type": "paragraph", "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 53 } ], "english": "References. Chopin, Prelude 19, m. 29; Schumann, Op. 6, No. 18; Bizet, L’Arlésienne, Suite No. 1, I, Un poco più lento: Wagner, Tannhäuser, pp. 5, 11, 47, 146, 238, 240; Flying Dutchman, 213.", "original": "References. Chopin, Prelude 19, m. 29; Schumann, Op. 6, No. 18; Bizet, L’Arlésienne, Suite No. 1, I, Un poco più lento: Wagner, Tannhäuser, pp. 5, 11, 47, 146, 238, 240; Flying Dutchman, 213.", "inline": [ { "text": "References. Chopin, Prelude 19, m. 29; Schumann, Op. 6, No. 18; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 1, I, " }, { "text": "Un poco più lento", "tag": "em" }, { "text": ": Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", pp. 5, 11, 47, 146, 238, 240; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 213." } ], "reading_order": 405 }, { "id": "cutter-p069-1", "type": "heading", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "heading_level": 3, "english": "Section 40. The Diminished Seventh on the Raised Fourth Step.", "original": "Section 40. The Diminished Seventh on the Raised Fourth Step.", "reading_order": 406 }, { "id": "cutter-p069-2c", "type": "caption", "english": "Ex. 90 · Vivace. Cramer, Etude.", "original": "Ex. 90 · Vivace. Cramer, Etude.", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "reading_order": 407 }, { "id": "cutter-p069-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "asset_refs": [ "ex-090" ], "reading_order": 408 }, { "id": "cutter-p069-3", "type": "paragraph", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "english": "References. Beethoven, Op. 10, No. 2, I, 46; Cramer, Etude 1, m. 19; Etude 8, m. 27; Wagner, Flying Dutchman, 11, 123.", "original": "References. Beethoven, Op. 10, No. 2, I, 46; Cramer, Etude 1, m. 19; Etude 8, m. 27; Wagner, Flying Dutchman, 11, 123.", "inline": [ { "text": "References. Beethoven, Op. 10, No. 2, I, 46; Cramer, Etude 1, m. 19; Etude 8, m. 27; Wagner, " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 11, 123." } ], "reading_order": 409 }, { "id": "cutter-p069-4", "type": "heading", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "heading_level": 3, "english": "Section 41. Secondary Seventh Chords in General.", "original": "Section 41. Secondary Seventh Chords in General.", "reading_order": 410 }, { "id": "cutter-p069-5", "type": "paragraph", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "english": "Extended successions of secondary seventh chords often give trouble as regards the definition of key. Some passages, as in Exercise 91, when shorn of the passing tones, suspensions, etc., which form many of the apparent secondary seventh chords, present a very simple structure; in which case the analyst must decide whether or not to mark all the combinations as real chords. Other passages, as in Exercises 93 and 94, present a series of secondary sevenths, often unmistakable in key, which turn suddenly, by the fact that any one chord may belong to several tonalities, into another key, possibly into a key quite remote. And, finally, other passages, on close examination, will be found to be made of alternations of supertonic seventh and dominant seventh, a favorite device in the restless music of this day, especially since the advent of Tristan.", "original": "Extended successions of secondary seventh chords often give trouble as regards the definition of key. Some passages, as in Exercise 91, when shorn of the passing tones, suspensions, etc., which form many of the apparent secondary seventh chords, present a very simple structure; in which case the analyst must decide whether or not to mark all the combinations as real chords. Other passages, as in Exercises 93 and 94, present a series of secondary sevenths, often unmistakable in key, which turn suddenly, by the fact that any one chord may belong to several tonalities, into another key, possibly into a key quite remote. And, finally, other passages, on close examination, will be found to be made of alternations of supertonic seventh and dominant seventh, a favorite device in the restless music of this day, especially since the advent of Tristan.", "inline": [ { "text": "Extended successions of secondary seventh chords often give trouble as regards the definition of key. Some passages, as in Exercise 91, when shorn of the passing tones, suspensions, etc., which form many of the apparent secondary seventh chords, present a very simple structure; in which case the analyst must decide whether or not to mark all the combinations as real chords. Other passages, as in Exercises 93 and 94, present a series of secondary sevenths, often unmistakable in key, which turn suddenly, by the fact that any one chord may belong to several tonalities, into another key, possibly into a key quite remote. And, finally, other passages, on close examination, will be found to be made of alternations of supertonic seventh and dominant seventh, a favorite device in the restless music of this day, especially since the advent of " }, { "text": "Tristan.", "tag": "em" } ], "reading_order": 411 }, { "id": "cutter-p069-6", "type": "paragraph", "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 }, { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "english": "When used in succession, or in clusters, so to speak, secondary sevenths gravitate toward a dominant harmony or toward a supertonic, though the latter case is rare. This leading chord defines the key of the preceding chords. Consequently it is necessary, as in Exercise 93, before fixing on a decision, to survey the entire passage in question and, having found the dominants, to figure from them, to possibly reason backward to the first and opening chord.", "original": "When used in succession, or in clusters, so to speak, secondary sevenths gravitate toward a dominant harmony or toward a supertonic, though the latter case is rare. This leading chord defines the key of the preceding chords. Consequently it is necessary, as in Exercise 93, before fixing on a decision, to survey the entire passage in question and, having found the dominants, to figure from them, to possibly reason backward to the first and opening chord.", "reading_order": 412 }, { "id": "cutter-p070-2c", "type": "caption", "english": "Ex. 91 · Andantino. Mendelssohn, Part Song.", "original": "Ex. 91 · Andantino. Mendelssohn, Part Song.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "reading_order": 413 }, { "id": "cutter-p070-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "asset_refs": [ "ex-091" ], "reading_order": 414 }, { "id": "cutter-p070-3c", "type": "caption", "english": "Ex. 92 · Allegretto. Verdi, Falstaff.", "original": "Ex. 92 · Allegretto. Verdi, Falstaff.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "reading_order": 415 }, { "id": "cutter-p070-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "asset_refs": [ "ex-092" ], "reading_order": 416 }, { "id": "cutter-p070-4c", "type": "caption", "english": "Ex. 93 · Allegro. Beethoven, Op. 10.", "original": "Ex. 93 · Allegro. Beethoven, Op. 10.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "reading_order": 417 }, { "id": "cutter-p070-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "asset_refs": [ "ex-093" ], "reading_order": 418 }, { "id": "cutter-p070-5c", "type": "caption", "english": "Ex. 94 · Allegro. Bach, Matt. Passion.", "original": "Ex. 94 · Allegro. Bach, Matt. Passion.", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "reading_order": 419 }, { "id": "cutter-p070-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "asset_refs": [ "ex-094" ], "reading_order": 420 }, { "id": "cutter-p070-6", "type": "paragraph", "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "english": "References. Schumann, Op. 6, No. 4, m. 30; Op. 6, Nos. 8, 13, 18, 1; Cramer, Etude, No. 1, m. 16; Grieg, Op. 12, No. 5; Chopin, Prelude, No. 2.", "original": "References. Schumann, Op. 6, No. 4, m. 30; Op. 6, Nos. 8, 13, 18, 1; Cramer, Etude, No. 1, m. 16; Grieg, Op. 12, No. 5; Chopin, Prelude, No. 2.", "reading_order": 421 }, { "id": "cutter-p071-1", "type": "heading", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "heading_level": 3, "english": "Section 42. The Augmented Sixth Chords.", "original": "Section 42. The Augmented Sixth Chords.", "reading_order": 422 }, { "id": "cutter-p071-2", "type": "paragraph", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "english": "The inversions of those chords which by alteration, and before inversion, contain a diminished third, and which after proper inversion are known as the Augmented Sixth (6+), the Augmented Six-Five (6+/5), the Augmented Six-Four-Three (6+/4+/3), and the Doubly Augmented Fourth (4++ or 6+/4++/3), are common in music of all kinds as harmonies used to strengthen the key impression, or to enrich the chord structure, or to produce modulations.", "original": "The inversions of those chords which by alteration, and before inversion, contain a diminished third, and which after proper inversion are known as the Augmented Sixth (6+), the Augmented Six-Five (6+/5), the Augmented Six-Four-Three (6+/4+/3), and the Doubly Augmented Fourth (4++ or 6+/4++/3), are common in music of all kinds as harmonies used to strengthen the key impression, or to enrich the chord structure, or to produce modulations.", "reading_order": 423 }, { "id": "cutter-p071-3", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "asset_refs": [ "fig-071-1" ], "reading_order": 424 }, { "id": "cutter-p071-4", "type": "paragraph", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "english": "They often give especial trouble to the scholar in Analysis,—trouble due in part to a neglect to learn the chords thoroughly in the Harmony Course, and in part because the 6+/5 and the 4++, through enharmonics, are used interchangeably, causing confusion to the unversed. To illustrate: the interval of an augmented sixth, A♭ F♯, when the tendencies of its tones are followed, resolves to G G, the flatted tone falling, the sharped tone rising. If this principle of chromatic leads be followed out strictly with all the chromatic tones involved, the Augmented Six-Five—A♭ C E♭ F♯—and the Doubly Augmented Fourth—A♭ C D♯ F♯—will resolve to different harmonies, the tone E♭ falling to D, or being held over, the D♯, its enharmonic equivalent, leading up to E. But composers of all schools write the one sound in two ways—E♭ or D♯—quite as they please, and carry the tone up or down regardless of rule or reason. As already said, this embarrasses the novice in Analysis.", "original": "They often give especial trouble to the scholar in Analysis,—trouble due in part to a neglect to learn the chords thoroughly in the Harmony Course, and in part because the 6+/5 and the 4++, through enharmonics, are used interchangeably, causing confusion to the unversed. To illustrate: the interval of an augmented sixth, A♭ F♯, when the tendencies of its tones are followed, resolves to G G, the flatted tone falling, the sharped tone rising. If this principle of chromatic leads be followed out strictly with all the chromatic tones involved, the Augmented Six-Five—A♭ C E♭ F♯—and the Doubly Augmented Fourth—A♭ C D♯ F♯—will resolve to different harmonies, the tone E♭ falling to D, or being held over, the D♯, its enharmonic equivalent, leading up to E. But composers of all schools write the one sound in two ways—E♭ or D♯—quite as they please, and carry the tone up or down regardless of rule or reason. As already said, this embarrasses the novice in Analysis.", "reading_order": 425 }, { "id": "cutter-p071-5", "type": "paragraph", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "english": "In illustration, examples of correct and incorrect notation will be given. It may be said, however, that cases occur, as in the one quoted from Mozart, where the 6+/5 may be quitted naturally and most sensibly as an 6+/5, although sounding as a 4++—in which case we behold a simplification of notation.", "original": "In illustration, examples of correct and incorrect notation will be given. It may be said, however, that cases occur, as in the one quoted from Mozart, where the 6+/5 may be quitted naturally and most sensibly as an 6+/5, although sounding as a 4++—in which case we behold a simplification of notation.", "reading_order": 426 }, { "id": "cutter-p071-6", "type": "paragraph", "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "english": "Find the root and write the proper numeral, and then modify it by the proper figures and accidentals.", "original": "Find the root and write the proper numeral, and then modify it by the proper figures and accidentals.", "inline": [ { "text": "Find the root and write the proper numeral, and then modify it by the proper figures and accidentals.", "tag": "strong" } ], "reading_order": 427 }, { "id": "cutter-p072-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "asset_refs": [ "mus-072-1" ], "reading_order": 428 }, { "id": "cutter-p072-2", "type": "paragraph", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "english": "Sometimes one figuring may be used, sometimes the other.", "original": "Sometimes one figuring may be used, sometimes the other.", "reading_order": 429 }, { "id": "cutter-p072-3c", "type": "caption", "english": "Ex. 95 · Allegro moderato. Schubert, Song.", "original": "Ex. 95 · Allegro moderato. Schubert, Song.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "reading_order": 430 }, { "id": "cutter-p072-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "asset_refs": [ "ex-095" ], "reading_order": 431 }, { "id": "cutter-p072-4c", "type": "caption", "english": "Ex. 96 · Agitato. Wagner, Lohengrin.", "original": "Ex. 96 · Agitato. Wagner, Lohengrin.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "reading_order": 432 }, { "id": "cutter-p072-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "asset_refs": [ "ex-096" ], "reading_order": 433 }, { "id": "cutter-p072-5c", "type": "caption", "english": "Ex. 97 · Allegretto. Franck, Violin Sonata.", "original": "Ex. 97 · Allegretto. Franck, Violin Sonata.", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "reading_order": 434 }, { "id": "cutter-p072-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "asset_refs": [ "ex-097" ], "reading_order": 435 }, { "id": "cutter-p073-1c", "type": "caption", "english": "Ex. 98 · Andante. Paukner, Bohemian Air.", "original": "Ex. 98 · Andante. Paukner, Bohemian Air.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "reading_order": 436 }, { "id": "cutter-p073-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "asset_refs": [ "ex-098" ], "reading_order": 437 }, { "id": "cutter-p073-2c", "type": "caption", "english": "Ex. 99 · Andante. Wagner, Lohengrin.", "original": "Ex. 99 · Andante. Wagner, Lohengrin.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "reading_order": 438 }, { "id": "cutter-p073-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "asset_refs": [ "ex-099" ], "reading_order": 439 }, { "id": "cutter-p073-3c", "type": "caption", "english": "Ex. 100 · Allegro. Mozart, Don Giovanni.", "original": "Ex. 100 · Allegro. Mozart, Don Giovanni.", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "reading_order": 440 }, { "id": "cutter-p073-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "asset_refs": [ "ex-100" ], "reading_order": 441 }, { "id": "cutter-p074-1c", "type": "caption", "english": "Ex. 101 · Allegro molto. Beethoven, Op. 7.", "original": "Ex. 101 · Allegro molto. Beethoven, Op. 7.", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "reading_order": 442 }, { "id": "cutter-p074-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "asset_refs": [ "ex-101" ], "reading_order": 443 }, { "id": "cutter-p074-2", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "References. 6+ Beethoven, Op. 2, No. 1, IV, 8; Op. 10, No. 2, II, 15; Wagner, Lohengrin, pp. 3, 5, 15; Tannhäuser, 4.", "original": "References. 6+ Beethoven, Op. 2, No. 1, IV, 8; Op. 10, No. 2, II, 15; Wagner, Lohengrin, pp. 3, 5, 15; Tannhäuser, 4.", "inline": [ { "text": "References. " }, { "text": "6+", "tag": "strong" }, { "text": " Beethoven, Op. 2, No. 1, IV, 8; Op. 10, No. 2, II, 15; Wagner, " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", pp. 3, 5, 15; " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 4." } ], "reading_order": 444 }, { "id": "cutter-p074-3", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "6+/5 Beethoven, Op. 7, I; Chopin, Prelude 12, m. 36; Cramer, Etude 17, m. 19; Etude 19, m. 20; Wagner, Lohengrin, pp. 9, 16, 50, 93, 166, 189, 190; Tannhäuser, 31, 224, 239.", "original": "6+/5 Beethoven, Op. 7, I; Chopin, Prelude 12, m. 36; Cramer, Etude 17, m. 19; Etude 19, m. 20; Wagner, Lohengrin, pp. 9, 16, 50, 93, 166, 189, 190; Tannhäuser, 31, 224, 239.", "inline": [ { "text": "6+/5", "tag": "strong" }, { "text": " Beethoven, Op. 7, I; Chopin, Prelude 12, m. 36; Cramer, Etude 17, m. 19; Etude 19, m. 20; Wagner, " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", pp. 9, 16, 50, 93, 166, 189, 190; " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 31, 224, 239." } ], "reading_order": 445 }, { "id": "cutter-p074-4", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "6+/4+/3 Beethoven, Op. 13, III, 46; Chopin, Prelude 20, m. 6; Prelude 21, m. 32; Schumann, Op. 6, No. 1, m. 16; Op. 15, m. 2; Wagner, Flying Dutchman, 162, 175.", "original": "6+/4+/3 Beethoven, Op. 13, III, 46; Chopin, Prelude 20, m. 6; Prelude 21, m. 32; Schumann, Op. 6, No. 1, m. 16; Op. 15, m. 2; Wagner, Flying Dutchman, 162, 175.", "inline": [ { "text": "6+/4+/3", "tag": "strong" }, { "text": " Beethoven, Op. 13, III, 46; Chopin, Prelude 20, m. 6; Prelude 21, m. 32; Schumann, Op. 6, No. 1, m. 16; Op. 15, m. 2; Wagner, " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 162, 175." } ], "reading_order": 446 }, { "id": "cutter-p074-5", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "6+/4++/3 Schumann, Op. 6, No. 14, m. 28; Op. 6, No. 17, m. 34; Chopin, Polonaise, No. 1, m. 30; Wagner, Tannhäuser, 58.", "original": "6+/4++/3 Schumann, Op. 6, No. 14, m. 28; Op. 6, No. 17, m. 34; Chopin, Polonaise, No. 1, m. 30; Wagner, Tannhäuser, 58.", "inline": [ { "text": "6+/4++/3", "tag": "strong" }, { "text": " Schumann, Op. 6, No. 14, m. 28; Op. 6, No. 17, m. 34; Chopin, Polonaise, No. 1, m. 30; Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 58." } ], "reading_order": 447 }, { "id": "cutter-p074-6", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "6+/5 as 4++ Beethoven, Op. 7, I, m. 98; Wagner, Lohengrin, pp. 12, 23, 62; Flying Dutchman, 128, 138.", "original": "6+/5 as 4++ Beethoven, Op. 7, I, m. 98; Wagner, Lohengrin, pp. 12, 23, 62; Flying Dutchman, 128, 138.", "inline": [ { "text": "6+/5 as 4++", "tag": "strong" }, { "text": " Beethoven, Op. 7, I, m. 98; Wagner, " }, { "text": "Lohengrin", "tag": "em" }, { "text": ", pp. 12, 23, 62; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": ", 128, 138." } ], "reading_order": 448 }, { "id": "cutter-p074-7", "type": "heading", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "heading_level": 3, "english": "Section 43. Modulation down a Minor Second by an Augmented Chord.", "original": "Section 43. Modulation down a Minor Second by an Augmented Chord.", "reading_order": 449 }, { "id": "cutter-p074-8", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "The V7, and its enharmonic equivalents, the 5+/6 and the 4++ (thus, G b d f; g b d E♯; g b C𝄪 e♯), were often used in modulating down a semi-tone by composers of Chopin’s day. The progression appears to have become hackneyed, and for a time abandoned, to be revived with tremendous power by Wagner in his Tristan.", "original": "The V7, and its enharmonic equivalents, the 5+/6 and the 4++ (thus, G b d f; g b d E♯; g b C𝄪 e♯), were often used in modulating down a semi-tone by composers of Chopin’s day. The progression appears to have become hackneyed, and for a time abandoned, to be revived with tremendous power by Wagner in his Tristan.", "inline": [ { "text": "The V7, and its enharmonic equivalents, the 5+/6 and the 4++ (thus, G b d f; g b d E♯; g b C𝄪 e♯), were often used in modulating down a semi-tone by composers of Chopin’s day. The progression appears to have become hackneyed, and for a time abandoned, to be revived with tremendous power by Wagner in his " }, { "text": "Tristan", "tag": "em" }, { "text": "." } ], "reading_order": 450 }, { "id": "cutter-p074-9", "type": "paragraph", "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "english": "The use of enharmonics makes the analysis at times a little difficult and puzzling. Measure 4 in Exercise 102 is a good instance; in some editions the f♮ is adhered to throughout the measure—but, as the “identity of a chord depends on its resolution” and this chord goes into B major, it is a B major chord, altered, and nothing else.", "original": "The use of enharmonics makes the analysis at times a little difficult and puzzling. Measure 4 in Exercise 102 is a good instance; in some editions the f♮ is adhered to throughout the measure—but, as the “identity of a chord depends on its resolution” and this chord goes into B major, it is a B major chord, altered, and nothing else.", "reading_order": 451 }, { "id": "cutter-p075-1c", "type": "caption", "english": "Ex. 102 · Presto. Chopin, Prelude.", "original": "Ex. 102 · Presto. Chopin, Prelude.", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "reading_order": 452 }, { "id": "cutter-p075-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "asset_refs": [ "ex-102" ], "reading_order": 453 }, { "id": "cutter-p075-2", "type": "paragraph", "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "english": "Reference. Chopin, F♯ minor Prelude.", "original": "Reference. Chopin, F♯ minor Prelude.", "reading_order": 454 }, { "id": "cutter-p076-1", "type": "heading", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "heading_level": 3, "english": "Section 44. Chords with a Diminished Third or Hidden Augmented Sixth.", "original": "Section 44. Chords with a Diminished Third or Hidden Augmented Sixth.", "reading_order": 455 }, { "id": "cutter-p076-2", "type": "paragraph", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "english": "These are the chords of the preceding section in some other form. The Augmented Sixth may be found in any two upper voices, or its equivalent, the Diminished Third, may be present. In figuring use numerals, and accidentals enclosed in brackets to show the alterations.", "original": "These are the chords of the preceding section in some other form. The Augmented Sixth may be found in any two upper voices, or its equivalent, the Diminished Third, may be present. In figuring use numerals, and accidentals enclosed in brackets to show the alterations.", "inline": [ { "text": "These are the chords of the preceding section in some other form. The Augmented Sixth may be found in any two upper voices, or its equivalent, the Diminished Third, may be present. " }, { "text": "In figuring use numerals, and accidentals enclosed in brackets to show the alterations.", "tag": "strong" } ], "reading_order": 456 }, { "id": "cutter-p076-3c", "type": "caption", "english": "Ex. 103 · Allegretto. Franck, Violin Sonata.", "original": "Ex. 103 · Allegretto. Franck, Violin Sonata.", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "reading_order": 457 }, { "id": "cutter-p076-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "asset_refs": [ "ex-103" ], "reading_order": 458 }, { "id": "cutter-p076-4", "type": "paragraph", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "english": "References. Chopin, Prelude No. 4, m. 23; Prelude 17, m. 20, 22; Prelude 22; Wagner, Tannhäuser, 231, 239, 240; Flying Dutchman 2, 22.", "original": "References. Chopin, Prelude No. 4, m. 23; Prelude 17, m. 20, 22; Prelude 22; Wagner, Tannhäuser, 231, 239, 240; Flying Dutchman 2, 22.", "inline": [ { "text": "References. Chopin, Prelude No. 4, m. 23; Prelude 17, m. 20, 22; Prelude 22; Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 231, 239, 240; " }, { "text": "Flying Dutchman", "tag": "em" }, { "text": " 2, 22." } ], "reading_order": 459 }, { "id": "cutter-p076-5", "type": "heading", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "heading_level": 3, "english": "Section 45. The Flat Second and Sixth Steps.", "original": "Section 45. The Flat Second and Sixth Steps.", "reading_order": 460 }, { "id": "cutter-p076-6", "type": "paragraph", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "english": "The first inversion of the supertonic triad containing this lowered—the Flat Second—step is commonly known as the Neapolitan Sixth. Although most frequent in this form, this altered supertonic may be used with any member in the bass and in either mode, in major requiring two alterations. It may be used at the beginning of a phrase, often misleading the student (Principle No. 5 must be borne in mind), or in its course; and a transient modulation is often made through the Neapolitan Sixth, or without it, to the key of its root, to the key of the Flat Second—sometimes of beautiful effect—which key is quickly abandoned for a resumption of the reigning tonic key.", "original": "The first inversion of the supertonic triad containing this lowered—the Flat Second—step is commonly known as the Neapolitan Sixth. Although most frequent in this form, this altered supertonic may be used with any member in the bass and in either mode, in major requiring two alterations. It may be used at the beginning of a phrase, often misleading the student (Principle No. 5 must be borne in mind), or in its course; and a transient modulation is often made through the Neapolitan Sixth, or without it, to the key of its root, to the key of the Flat Second—sometimes of beautiful effect—which key is quickly abandoned for a resumption of the reigning tonic key.", "inline": [ { "text": "The first inversion of the supertonic triad containing this lowered—" }, { "text": "the Flat Second", "tag": "strong" }, { "text": "—step is commonly known as the Neapolitan Sixth. Although most frequent in this form, this altered supertonic may be used with any member in the bass and in either mode, in major requiring two alterations. It may be used at the beginning of a phrase, often misleading the student (Principle No. 5 must be borne in mind), or in its course; and a transient modulation is often made through the Neapolitan Sixth, or without it, to the key of its root, to the key of the Flat Second—sometimes of beautiful effect—which key is quickly abandoned for a resumption of the reigning tonic key." } ], "reading_order": 461 }, { "id": "cutter-p076-7", "type": "paragraph", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "english": "Signs: ii [♮ or ♭1 / ♮ or ♭5], ii° [♭1], ii6 [♮ or ♭1], N6, ii6/4 [♮ or ♭1 / ♮ or ♭5], ii°6/4 [♮ or ♭1]", "original": "Signs: ii [♮ or ♭1 / ♮ or ♭5], ii° [♭1], ii6 [♮ or ♭1], N6, ii6/4 [♮ or ♭1 / ♮ or ♭5], ii°6/4 [♮ or ♭1]", "reading_order": 462 }, { "id": "cutter-p076-8", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "asset_refs": [ "fig-076-1" ], "reading_order": 463 }, { "id": "cutter-p076-9", "type": "paragraph", "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "english": "The Flat Sixth Step at times occurs, although less frequently than the Flat Second Step. It is easy to recognize.", "original": "The Flat Sixth Step at times occurs, although less frequently than the Flat Second Step. It is easy to recognize.", "inline": [ { "text": "The " }, { "text": "Flat Sixth Step", "tag": "strong" }, { "text": " at times occurs, although less frequently than the Flat Second Step. It is easy to recognize." } ], "reading_order": 464 }, { "id": "cutter-p077-1c", "type": "caption", "english": "Ex. 104 · Allegro. Wagner, Flying Dutchman.", "original": "Ex. 104 · Allegro. Wagner, Flying Dutchman.", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "reading_order": 465 }, { "id": "cutter-p077-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "asset_refs": [ "ex-104" ], "reading_order": 466 }, { "id": "cutter-p077-2c", "type": "caption", "english": "Ex. 105 · Allegretto. Dvořák, Dance.", "original": "Ex. 105 · Allegretto. Dvořák, Dance.", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "reading_order": 467 }, { "id": "cutter-p077-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "asset_refs": [ "ex-105" ], "reading_order": 468 }, { "id": "cutter-p077-3", "type": "paragraph", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "english": "References. Beethoven, Op. 27, No. 2, I, 21; Grieg, Op. 6, No. 4, più Allegro: Schumann, Op. 6, No. 5, m. 12 and 22; Op. 68, No. 29, B♭ strain and Coda; Cramer, Etude 3, m. 24; Etude 9, m. 6, 60; Etude 10, m. 22.—See also, for modulation to Key of Flat Second, Chopin, Prelude 16, m. 7 from end; Bizet, L’Arlésienne, Suite No. 1, II, m. 29. Flat Sixth, Wagner, Tannhäuser, p. 86.", "original": "References. Beethoven, Op. 27, No. 2, I, 21; Grieg, Op. 6, No. 4, più Allegro: Schumann, Op. 6, No. 5, m. 12 and 22; Op. 68, No. 29, B♭ strain and Coda; Cramer, Etude 3, m. 24; Etude 9, m. 6, 60; Etude 10, m. 22.—See also, for modulation to Key of Flat Second, Chopin, Prelude 16, m. 7 from end; Bizet, L’Arlésienne, Suite No. 1, II, m. 29. Flat Sixth, Wagner, Tannhäuser, p. 86.", "inline": [ { "text": "References. Beethoven, Op. 27, No. 2, I, 21; Grieg, Op. 6, No. 4, " }, { "text": "più Allegro", "tag": "em" }, { "text": ": Schumann, Op. 6, No. 5, m. 12 and 22; Op. 68, No. 29, B♭ strain and Coda; Cramer, Etude 3, m. 24; Etude 9, m. 6, 60; Etude 10, m. 22.—See also, for modulation to Key of Flat Second, Chopin, Prelude 16, m. 7 from end; Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 1, II, m. 29. Flat Sixth, Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", p. 86." } ], "reading_order": 469 }, { "id": "cutter-p077-4", "type": "heading", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "heading_level": 3, "english": "Section 46. The Flat Seventh Step.", "original": "Section 46. The Flat Seventh Step.", "reading_order": 470 }, { "id": "cutter-p077-5", "type": "paragraph", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "english": "Occurs most frequently in the minor mode, and often as a means of softening the harshness inseparable from the augmented second formed by the descending seventh and sixth steps of the harmonic minor scale. It is apt to mislead the student. May be found in sequential passages, and as the root of an independent chord.", "original": "Occurs most frequently in the minor mode, and often as a means of softening the harshness inseparable from the augmented second formed by the descending seventh and sixth steps of the harmonic minor scale. It is apt to mislead the student. May be found in sequential passages, and as the root of an independent chord.", "reading_order": 471 }, { "id": "cutter-p077-6", "type": "paragraph", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "english": "Signs: V [♭3], or V7 [♭3], or vii° [♭3], etc.", "original": "Signs: V [♭3], or V7 [♭3], or vii° [♭3], etc.", "reading_order": 472 }, { "id": "cutter-p077-7", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "asset_refs": [ "fig-077-1" ], "reading_order": 473 }, { "id": "cutter-p078-1c", "type": "caption", "english": "Ex. 106 · Presto. Cramer, Etude.", "original": "Ex. 106 · Presto. Cramer, Etude.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "reading_order": 474 }, { "id": "cutter-p078-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "asset_refs": [ "ex-106" ], "reading_order": 475 }, { "id": "cutter-p078-2", "type": "heading", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "heading_level": 3, "english": "Section 47. Embellishment of the Tonic Six-Four in a Cadence.", "original": "Section 47. Embellishment of the Tonic Six-Four in a Cadence.", "reading_order": 476 }, { "id": "cutter-p078-3", "type": "paragraph", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "english": "The tonic six-four moves most naturally into a dominant cadence. The suspense attendant on this six-four chord is often heightened, by composers of many schools, by embellishing, so to speak, this six-four chord before its resolution into the dominant, by harmonies diatonic or chromatic. Since they merely intensify the key effect, such chromatic harmonies may most properly be marked as altered, i.e., as non-modulating.", "original": "The tonic six-four moves most naturally into a dominant cadence. The suspense attendant on this six-four chord is often heightened, by composers of many schools, by embellishing, so to speak, this six-four chord before its resolution into the dominant, by harmonies diatonic or chromatic. Since they merely intensify the key effect, such chromatic harmonies may most properly be marked as altered, i.e., as non-modulating.", "inline": [ { "text": "The tonic six-four moves most naturally into a dominant cadence. The suspense attendant on this six-four chord is often heightened, by composers of many schools, by embellishing, so to speak, this six-four chord before its resolution into the dominant, by harmonies diatonic or chromatic. Since they merely intensify the key effect, such chromatic harmonies may most properly be marked as altered, " }, { "text": "i.e.", "tag": "em" }, { "text": ", as non-modulating." } ], "reading_order": 477 }, { "id": "cutter-p078-4", "type": "paragraph", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "english": "The same procedure is at times made with the dominant chord.", "original": "The same procedure is at times made with the dominant chord.", "reading_order": 478 }, { "id": "cutter-p078-5", "type": "paragraph", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "english": "Examples are especially frequent in the works of Mozart and Beethoven.", "original": "Examples are especially frequent in the works of Mozart and Beethoven.", "reading_order": 479 }, { "id": "cutter-p078-6c", "type": "caption", "english": "Ex. 107 · Allegro con brio. Beethoven, Op. 10.", "original": "Ex. 107 · Allegro con brio. Beethoven, Op. 10.", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "reading_order": 480 }, { "id": "cutter-p078-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "asset_refs": [ "ex-107" ], "reading_order": 481 }, { "id": "cutter-p079-2", "type": "heading", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "heading_level": 3, "english": "Section 48. Consecutive Tonics.", "original": "Section 48. Consecutive Tonics.", "reading_order": 482 }, { "id": "cutter-p079-3", "type": "paragraph", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "english": "Progressions are not unusual which may be explained only on the supposition that consecutive tonic impressions are possible, and are intended by the composer. Such progressions are generally made agreeable by the use of common tones, sometimes enharmonically expressed; but cases are not unknown in which the common and connecting tone is dispensed with altogether.", "original": "Progressions are not unusual which may be explained only on the supposition that consecutive tonic impressions are possible, and are intended by the composer. Such progressions are generally made agreeable by the use of common tones, sometimes enharmonically expressed; but cases are not unknown in which the common and connecting tone is dispensed with altogether.", "reading_order": 483 }, { "id": "cutter-p079-4c", "type": "caption", "english": "Ex. 108 · Allegro molto vivace. Grieg, Violin Sonata.", "original": "Ex. 108 · Allegro molto vivace. Grieg, Violin Sonata.", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "reading_order": 484 }, { "id": "cutter-p079-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "asset_refs": [ "ex-108" ], "reading_order": 485 }, { "id": "cutter-p079-5c", "type": "caption", "english": "Ex. 109 · Allegro maestoso. Liszt, Concerto.", "original": "Ex. 109 · Allegro maestoso. Liszt, Concerto.", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "reading_order": 486 }, { "id": "cutter-p079-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "asset_refs": [ "ex-109" ], "reading_order": 487 }, { "id": "cutter-p079-6", "type": "paragraph", "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "english": "References. Grieg, Op. 6, No. 3, m. 34; Chopin, Prelude 8, m. 23; Wagner, Tannhäuser, 236, m. 5.", "original": "References. Grieg, Op. 6, No. 3, m. 34; Chopin, Prelude 8, m. 23; Wagner, Tannhäuser, 236, m. 5.", "inline": [ { "text": "References. Grieg, Op. 6, No. 3, m. 34; Chopin, Prelude 8, m. 23; Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 236, m. 5." } ], "reading_order": 488 }, { "id": "cutter-p080-1", "type": "heading", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_page": 65 } ], "heading_level": 3, "english": "Section 49. Chromatic Passing Chords and Passing Sequential Figures.", "original": "Section 49. Chromatic Passing Chords and Passing Sequential Figures.", "reading_order": 489 }, { "id": "cutter-p080-2", "type": "paragraph", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_page": 65 } ], "english": "A logical outgrowth of passing tones in a single voice is the union of several voices in passing chords moving in one direction. Furthermore, as two single voices may move from one consonance through contrary motion to another consonance, and the satisfactory outcome of the passage may compensate for all the transitory harshnesses, so, proceeding logically from this premise, modern composers have made bold to employ chords in the same manner.", "original": "A logical outgrowth of passing tones in a single voice is the union of several voices in passing chords moving in one direction. Furthermore, as two single voices may move from one consonance through contrary motion to another consonance, and the satisfactory outcome of the passage may compensate for all the transitory harshnesses, so, proceeding logically from this premise, modern composers have made bold to employ chords in the same manner.", "reading_order": 490 }, { "id": "cutter-p080-3", "type": "paragraph", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_page": 65 } ], "english": "The two outside voices are written, and any combination which seems good to the composer is used in harmonizing each tone, the chord being usually fitted to the soprano. Not infrequently the most intolerable dissonances result—combinations, indeed, which may not be reduced to thirds, which are not chords.", "original": "The two outside voices are written, and any combination which seems good to the composer is used in harmonizing each tone, the chord being usually fitted to the soprano. Not infrequently the most intolerable dissonances result—combinations, indeed, which may not be reduced to thirds, which are not chords.", "reading_order": 491 }, { "id": "cutter-p080-4", "type": "paragraph", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_page": 65 } ], "english": "On the other hand, such a passage may contain successions of the most ravishing beauty—due to the euphonious setting of each individual chord, and to the mental surprise and to the delight of the harmonic sense at each unexpected change.", "original": "On the other hand, such a passage may contain successions of the most ravishing beauty—due to the euphonious setting of each individual chord, and to the mental surprise and to the delight of the harmonic sense at each unexpected change.", "reading_order": 492 }, { "id": "cutter-p080-5", "type": "paragraph", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_page": 65 } ], "english": "More than this, the extension of this spirit to the sequence sometimes occurs in modern music, as in the example by Bizet, where on an organ-point a sequential figure—its motive, a chord tone with an embellishment—is carried out obstinately through the rising scale, its principal tone at times consonating, at times dissonating sharply, the whole thing ending, however, satisfactorily with a good tonic impression.", "original": "More than this, the extension of this spirit to the sequence sometimes occurs in modern music, as in the example by Bizet, where on an organ-point a sequential figure—its motive, a chord tone with an embellishment—is carried out obstinately through the rising scale, its principal tone at times consonating, at times dissonating sharply, the whole thing ending, however, satisfactorily with a good tonic impression.", "reading_order": 493 }, { "id": "cutter-p080-6", "type": "paragraph", "sources": [ { "pdf_page": 80, "source_image": "source-pages/p-080.jpg", "printed_page": 65 } ], "english": "In marking, much judgment must be used. If the chords be disconnected but yet long enough to give the ear a series of strong impressions, then they will fall under the head of Consecutive Tonics, with possibly two or more occasional chords in one key. When enharmonics are used with one general chord or key impression, the task is to fix upon the places where this impression is made, to mark them, and then, as these places govern the impression of the whole, to account for the rest as best one may—passing tones, etc.", "original": "In marking, much judgment must be used. If the chords be disconnected but yet long enough to give the ear a series of strong impressions, then they will fall under the head of Consecutive Tonics, with possibly two or more occasional chords in one key. When enharmonics are used with one general chord or key impression, the task is to fix upon the places where this impression is made, to mark them, and then, as these places govern the impression of the whole, to account for the rest as best one may—passing tones, etc.", "reading_order": 494 }, { "id": "cutter-p081-1c", "type": "caption", "english": "Ex. 110 · Andante. Wagner, Walküre.", "original": "Ex. 110 · Andante. Wagner, Walküre.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_page": 66 } ], "reading_order": 495 }, { "id": "cutter-p081-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_page": 66 } ], "asset_refs": [ "ex-110" ], "reading_order": 496 }, { "id": "cutter-p081-2c", "type": "caption", "english": "Ex. 111 · Allegro vivace. Godard, Violin Sonata.", "original": "Ex. 111 · Allegro vivace. Godard, Violin Sonata.", "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_page": 66 } ], "reading_order": 497 }, { "id": "cutter-p081-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_page": 66 } ], "asset_refs": [ "ex-111" ], "reading_order": 498 }, { "id": "cutter-p082-1c", "type": "caption", "english": "Ex. 112 · Tempo di marcia. Bizet, L’Arlésienne.", "original": "Ex. 112 · Tempo di marcia. Bizet, L’Arlésienne.", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "reading_order": 499 }, { "id": "cutter-p082-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "asset_refs": [ "ex-112" ], "reading_order": 500 }, { "id": "cutter-p082-2c", "type": "caption", "english": "Ex. 113 · Allegro molto. Wagner, Tristan.", "original": "Ex. 113 · Allegro molto. Wagner, Tristan.", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "reading_order": 501 }, { "id": "cutter-p082-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "asset_refs": [ "ex-113" ], "reading_order": 502 }, { "id": "cutter-p083-1", "type": "heading", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "heading_level": 3, "english": "Section 50. The Sequence.", "original": "Section 50. The Sequence.", "reading_order": 503 }, { "id": "cutter-p083-2", "type": "paragraph", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "english": "The Sequence is the continuous transposition, more or less regular, of any group of notes or chords, and consists of a Motive, or Model, and Repetitions, or Transpositions, of this Model. These transpositions may be one or more in number, and the Sequence may be diatonic or chromatic throughout, or a mixture of the two, or may modulate.", "original": "The Sequence is the continuous transposition, more or less regular, of any group of notes or chords, and consists of a Motive, or Model, and Repetitions, or Transpositions, of this Model. These transpositions may be one or more in number, and the Sequence may be diatonic or chromatic throughout, or a mixture of the two, or may modulate.", "inline": [ { "text": "The Sequence is the continuous transposition, more or less regular, of any group of notes or chords,", "tag": "strong" }, { "text": " and consists of a Motive, or Model, and Repetitions, or Transpositions, of this Model. These transpositions may be one or more in number, and the Sequence may be diatonic or chromatic throughout, or a mixture of the two, or may modulate." } ], "reading_order": 504 }, { "id": "cutter-p083-3", "type": "paragraph", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "english": "When diatonic—when based on the notes of the key in which it begins—and when carried out far enough, the diminished or augmented chords of the key cause harshnesses which are more or less marked according to the position of the dissonances involved. These harshnesses add to the interest of the Sequence, and, as is usual, may be compensated for by the outcome of the whole passage in bland principal harmonies.", "original": "When diatonic—when based on the notes of the key in which it begins—and when carried out far enough, the diminished or augmented chords of the key cause harshnesses which are more or less marked according to the position of the dissonances involved. These harshnesses add to the interest of the Sequence, and, as is usual, may be compensated for by the outcome of the whole passage in bland principal harmonies.", "reading_order": 505 }, { "id": "cutter-p083-4", "type": "paragraph", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "english": "In a modulating Sequence of some length, especially in instrumental music, composers often raise or lower, arbitrarily, some tone in an occasional Repetition. This causes an irregularity which, by breaking the monotony, adds to the interest of the whole. These irregularities, interrupting the continuous rise or fall of definite keys, often produce what the author calls sham keys; for while the roots of an apparent dominant and tonic may be present, the tones which go with them do not form the intervals which characterize these chords, and the impression on the mind may be defined as that of a key, but marred in some way, strikingly incomplete.", "original": "In a modulating Sequence of some length, especially in instrumental music, composers often raise or lower, arbitrarily, some tone in an occasional Repetition. This causes an irregularity which, by breaking the monotony, adds to the interest of the whole. These irregularities, interrupting the continuous rise or fall of definite keys, often produce what the author calls sham keys; for while the roots of an apparent dominant and tonic may be present, the tones which go with them do not form the intervals which characterize these chords, and the impression on the mind may be defined as that of a key, but marred in some way, strikingly incomplete.", "inline": [ { "text": "In a modulating Sequence of some length, especially in instrumental music, composers often raise or lower, arbitrarily, some tone in an occasional Repetition. This causes an irregularity which, by breaking the monotony, adds to the interest of the whole. These irregularities, interrupting the continuous rise or fall of definite keys, often produce what the author calls " }, { "text": "sham keys", "tag": "strong" }, { "text": "; for while the roots of an apparent dominant and tonic may be present, the tones which go with them do not form the intervals which characterize these chords, and the impression on the mind may be defined as that of a key, but marred in some way, strikingly incomplete." } ], "reading_order": 506 }, { "id": "cutter-p083-5", "type": "paragraph", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "english": "Furthermore, a sequence may be based on a succession of passing thirds or sixths; or on a long sequential passage made up of several different Motives with their Repetitions.", "original": "Furthermore, a sequence may be based on a succession of passing thirds or sixths; or on a long sequential passage made up of several different Motives with their Repetitions.", "reading_order": 507 }, { "id": "cutter-p083-6", "type": "paragraph", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "english": "The interval of transposition depends on the will of the composer. The Sequence may rise or fall by seconds, may move by fifths, and may go up or down the chromatic scale on the basis of one sustained chord (see Cadenza), in which case some of the Repetitions will move about or on foreign tones—in other words, the essential tone of the Repetition may be a passing tone.", "original": "The interval of transposition depends on the will of the composer. The Sequence may rise or fall by seconds, may move by fifths, and may go up or down the chromatic scale on the basis of one sustained chord (see Cadenza), in which case some of the Repetitions will move about or on foreign tones—in other words, the essential tone of the Repetition may be a passing tone.", "reading_order": 508 }, { "id": "cutter-p083-7", "type": "paragraph", "sources": [ { "pdf_page": 83, "source_image": "source-pages/p-083.jpg", "printed_page": 68 } ], "english": "To mark Sequences: No fixed rule can be given; the nature of the passage must be considered. It is thought that he who reaches this point in the book will be able to use his learning and judgment rightly.", "original": "To mark Sequences: No fixed rule can be given; the nature of the passage must be considered. It is thought that he who reaches this point in the book will be able to use his learning and judgment rightly.", "reading_order": 509 }, { "id": "cutter-p084-1c", "type": "caption", "english": "Ex. 114 · Alla Polacca. Hummel, Polonaise.", "original": "Ex. 114 · Alla Polacca. Hummel, Polonaise.", "sources": [ { "pdf_page": 84, "source_image": "source-pages/p-084.jpg", "printed_page": 69 } ], "reading_order": 510 }, { "id": "cutter-p084-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 84, "source_image": "source-pages/p-084.jpg", "printed_page": 69 } ], "asset_refs": [ "ex-114" ], "reading_order": 511 }, { "id": "cutter-p085-1c", "type": "caption", "english": "Ex. 115 · Allegro brillante. Cramer, Etude.", "original": "Ex. 115 · Allegro brillante. Cramer, Etude.", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "reading_order": 512 }, { "id": "cutter-p085-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "asset_refs": [ "ex-115" ], "reading_order": 513 }, { "id": "cutter-p085-2c", "type": "caption", "english": "Ex. 116 · Allegro. Cramer, Etude.", "original": "Ex. 116 · Allegro. Cramer, Etude.", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "reading_order": 514 }, { "id": "cutter-p085-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "asset_refs": [ "ex-116" ], "reading_order": 515 }, { "id": "cutter-p085-3c", "type": "caption", "english": "Ex. 117 · Energico ma non troppo Allegro. Sinding, Violin Suite.", "original": "Ex. 117 · Energico ma non troppo Allegro. Sinding, Violin Suite.", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "reading_order": 516 }, { "id": "cutter-p085-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "asset_refs": [ "ex-117" ], "reading_order": 517 }, { "id": "cutter-p086-1c", "type": "caption", "english": "Ex. 118 · Allegro. Cramer, Etude.", "original": "Ex. 118 · Allegro. Cramer, Etude.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "reading_order": 518 }, { "id": "cutter-p086-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "asset_refs": [ "ex-118" ], "reading_order": 519 }, { "id": "cutter-p086-2", "type": "paragraph", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "english": "References. Beethoven, Op. 10, No. 1, I, 32; Chopin, Prelude 9, m. 9; Prelude 20, Prelude 21, m. 32; Cramer, Etude 5, m. 23; Etude 1; Etude 8, m. 13; Etude 14, m. 26; Schumann, Op. 6, No. 2, m. 7.", "original": "References. Beethoven, Op. 10, No. 1, I, 32; Chopin, Prelude 9, m. 9; Prelude 20, Prelude 21, m. 32; Cramer, Etude 5, m. 23; Etude 1; Etude 8, m. 13; Etude 14, m. 26; Schumann, Op. 6, No. 2, m. 7.", "reading_order": 520 }, { "id": "cutter-p086-3", "type": "heading", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "heading_level": 3, "english": "Section 51. Two Simultaneous Harmonies.", "original": "Section 51. Two Simultaneous Harmonies.", "reading_order": 521 }, { "id": "cutter-p086-4", "type": "paragraph", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "english": "Cases occur occasionally in modern music in which two distinct harmonic bodies are used at one time, the one over the other. It may be possible to define the upper chord as composed of foreign tones, or it may be necessary to define it as an independent regularly resolved harmony.", "original": "Cases occur occasionally in modern music in which two distinct harmonic bodies are used at one time, the one over the other. It may be possible to define the upper chord as composed of foreign tones, or it may be necessary to define it as an independent regularly resolved harmony.", "reading_order": 522 }, { "id": "cutter-p086-5c", "type": "caption", "english": "Ex. 119 · Allegro. Wagner, Götterdämmerung.", "original": "Ex. 119 · Allegro. Wagner, Götterdämmerung.", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "reading_order": 523 }, { "id": "cutter-p086-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "asset_refs": [ "ex-119" ], "reading_order": 524 }, { "id": "cutter-p087-2", "type": "paragraph", "sources": [ { "pdf_page": 87, "source_image": "source-pages/p-087.jpg", "printed_page": 72 } ], "english": "Reference. Bizet, L’Arlésienne, Suite No. 2, I, ending.", "original": "Reference. Bizet, L’Arlésienne, Suite No. 2, I, ending.", "inline": [ { "text": "Reference. Bizet, " }, { "text": "L’Arlésienne", "tag": "em" }, { "text": ", Suite No. 2, I, ending." } ], "reading_order": 525 }, { "id": "cutter-p088-1", "type": "heading", "sources": [ { "pdf_page": 88, "source_image": "source-pages/p-088.jpg", "printed_page": 73 } ], "heading_level": 3, "english": "Section 52. The Skip Resolution.", "original": "Section 52. The Skip Resolution.", "reading_order": 526 }, { "id": "cutter-p088-2", "type": "paragraph", "sources": [ { "pdf_page": 88, "source_image": "source-pages/p-088.jpg", "printed_page": 73 } ], "english": "The normal, the strict, resolution of a chromatic tone, and of three members of the V7 and of the subordinate sevenths, and of all of the members of the leading tone sevenths, major or minor, is by moving a second. To the violation of these strict resolutions, modern music owes some of its most startling progressions. The principle is simple; the one lined F♯, for instance, instead of going to the one lined G, is carried to some other tone, the rightful tone of resolution, G, appearing in some other voice, above or below. This procedure causes a dislocation of the resolution; and it is also often responsible for a progression which not only startles the ear, but baffles the ear in ear-analysis, and may be made out only through examination with the eye. A chromatic passage, in itself closely united, correctly written, and consequently stout in its coherence, is by this means torn asunder, and the rightful, the primary, phrase may be found only when the passage is rewritten, and the voices resolved by rule, an F♯ moving a second to G, an E♭ to D. Cases occur occasionally in which a hitch becomes necessary even in this Reduction. Moreover, enharmonics may complicate the affair, and cross relations are exceedingly common.", "original": "The normal, the strict, resolution of a chromatic tone, and of three members of the V7 and of the subordinate sevenths, and of all of the members of the leading tone sevenths, major or minor, is by moving a second. To the violation of these strict resolutions, modern music owes some of its most startling progressions. The principle is simple; the one lined F♯, for instance, instead of going to the one lined G, is carried to some other tone, the rightful tone of resolution, G, appearing in some other voice, above or below. This procedure causes a dislocation of the resolution; and it is also often responsible for a progression which not only startles the ear, but baffles the ear in ear-analysis, and may be made out only through examination with the eye. A chromatic passage, in itself closely united, correctly written, and consequently stout in its coherence, is by this means torn asunder, and the rightful, the primary, phrase may be found only when the passage is rewritten, and the voices resolved by rule, an F♯ moving a second to G, an E♭ to D. Cases occur occasionally in which a hitch becomes necessary even in this Reduction. Moreover, enharmonics may complicate the affair, and cross relations are exceedingly common.", "inline": [ { "text": "The normal, the strict, resolution of a chromatic tone, and of " }, { "text": "three", "tag": "em" }, { "text": " members of the V7 and of the subordinate sevenths, and of " }, { "text": "all", "tag": "em" }, { "text": " of the members of the leading tone sevenths, major or minor, is by moving a second. To the violation of these strict resolutions, modern music owes some of its most startling progressions. The principle is simple; the one lined F♯, for instance, instead of going to the one lined G, is carried to some other tone, the rightful tone of resolution, G, appearing in some other voice, above or below. This procedure causes a dislocation of the resolution; and it is also often responsible for a progression which not only startles the ear, but baffles the ear in ear-analysis, and may be made out only through examination with the eye. A chromatic passage, in itself closely united, correctly written, and consequently stout in its coherence, is by this means torn asunder, and the rightful, the primary, phrase may be found only when the passage is rewritten, and the voices resolved by rule, an F♯ moving a second to G, an E♭ to D. Cases occur occasionally in which a hitch becomes necessary even in this Reduction. Moreover, enharmonics may complicate the affair, and cross relations are exceedingly common." } ], "reading_order": 527 }, { "id": "cutter-p088-3", "type": "paragraph", "sources": [ { "pdf_page": 88, "source_image": "source-pages/p-088.jpg", "printed_page": 73 } ], "english": "In marking passages of this sort, the chords should be figured as they stand in the original, and the phrase may be reduced in writing to the primary form. The legitimacy of this primary form, so called by the author, is well shown by Exercise No. 120, the outcome of the first four measures in the diminished seventh of C minor, toward which the whole progression tends, being most satisfactory.", "original": "In marking passages of this sort, the chords should be figured as they stand in the original, and the phrase may be reduced in writing to the primary form. The legitimacy of this primary form, so called by the author, is well shown by Exercise No. 120, the outcome of the first four measures in the diminished seventh of C minor, toward which the whole progression tends, being most satisfactory.", "inline": [ { "text": "In marking passages of this sort, the chords should be figured as they stand in the original, and the phrase may be reduced in writing to the primary form. The legitimacy of this " }, { "text": "primary form", "tag": "em" }, { "text": ", so called by the author, is well shown by Exercise No. 120, the outcome of the first four measures in the diminished seventh of C minor, toward which the whole progression tends, being most satisfactory." } ], "reading_order": 528 }, { "id": "cutter-p089-1c", "type": "caption", "english": "Ex. 120 · Presto. Wagner, Tristan.", "original": "Ex. 120 · Presto. Wagner, Tristan.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "reading_order": 529 }, { "id": "cutter-p089-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "asset_refs": [ "ex-120" ], "reading_order": 530 }, { "id": "cutter-p089-2c", "type": "caption", "english": "Ex. 121 · Schumann, Op. 12.", "original": "Ex. 121 · Schumann, Op. 12.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "reading_order": 531 }, { "id": "cutter-p089-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "asset_refs": [ "ex-121" ], "reading_order": 532 }, { "id": "cutter-p089-3c", "type": "caption", "english": "Ex. 122 · Moderato e ritenuto. Wagner, Tristan.", "original": "Ex. 122 · Moderato e ritenuto. Wagner, Tristan.", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "reading_order": 533 }, { "id": "cutter-p089-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "asset_refs": [ "ex-122" ], "reading_order": 534 }, { "id": "cutter-p090-1", "type": "heading", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "heading_level": 3, "english": "Section 53. The Church Modes, and Unusual Cadences.", "original": "Section 53. The Church Modes, and Unusual Cadences.", "reading_order": 535 }, { "id": "cutter-p090-2", "type": "paragraph", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "english": "The Church Modes may be defined, briefly, as scales in which the customary order of semitones is changed. These alterations often make the ordinary cadences impossible, and produce, moreover, progressions which startle the harmonic sense accustomed to the modern major and minor modes or scales. To treat this matter exhaustively is needless; the bounds of this work also forbid the presentation of material sufficient to teach the many fine distinctions between the several Modes. The quickest and the best way is to regard such successions as triad progressions, pure and simple—which in reality they are—and to mark them as such.", "original": "The Church Modes may be defined, briefly, as scales in which the customary order of semitones is changed. These alterations often make the ordinary cadences impossible, and produce, moreover, progressions which startle the harmonic sense accustomed to the modern major and minor modes or scales. To treat this matter exhaustively is needless; the bounds of this work also forbid the presentation of material sufficient to teach the many fine distinctions between the several Modes. The quickest and the best way is to regard such successions as triad progressions, pure and simple—which in reality they are—and to mark them as such.", "reading_order": 536 }, { "id": "cutter-p090-3", "type": "paragraph", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "english": "Place as many chords as possible in one key. No better rule can be given.", "original": "Place as many chords as possible in one key. No better rule can be given.", "inline": [ { "text": "Place as many chords as possible in one key.", "tag": "strong" }, { "text": " No better rule can be given." } ], "reading_order": 537 }, { "id": "cutter-p090-4c", "type": "caption", "english": "Ex. 123 · Poco lento. Dvořák, Requiem.", "original": "Ex. 123 · Poco lento. Dvořák, Requiem.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "reading_order": 538 }, { "id": "cutter-p090-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "asset_refs": [ "ex-123" ], "reading_order": 539 }, { "id": "cutter-p090-5c", "type": "caption", "english": "Ex. 124 · Andante. Ibid.", "original": "Ex. 124 · Andante. Ibid.", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "reading_order": 540 }, { "id": "cutter-p090-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "asset_refs": [ "ex-124" ], "reading_order": 541 }, { "id": "cutter-p090-6", "type": "paragraph", "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "english": "Reference. Wagner, Tannhäuser, 259.", "original": "Reference. Wagner, Tannhäuser, 259.", "inline": [ { "text": "Reference. Wagner, " }, { "text": "Tannhäuser", "tag": "em" }, { "text": ", 259." } ], "reading_order": 542 }, { "id": "cutter-p091-1", "type": "heading", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "heading_level": 3, "english": "Section 54. Two-part Writing.", "original": "Section 54. Two-part Writing.", "reading_order": 543 }, { "id": "cutter-p091-2", "type": "paragraph", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "english": "May be divided into two classes:", "original": "May be divided into two classes:", "reading_order": 544 }, { "id": "cutter-p091-3", "type": "paragraph", "english": "A melody in either voice, with a broken chord accompaniment;\nTwo equally important parts or voices.", "original": "A melody in either voice, with a broken chord accompaniment;\nTwo equally important parts or voices.", "ordered": true, "list_items": [ [ { "text": "A melody in either voice, with a broken chord accompaniment", "tag": "strong" }, { "text": ";" } ], [ { "text": "Two equally important parts or voices.", "tag": "strong" } ] ], "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "reading_order": 545 }, { "id": "cutter-p091-4", "type": "paragraph", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "english": "In the former case the chords are dissolved in the accompaniment, and though they are at times invested with foreign tones, they are so plain before the eye that no example is needful here. In the latter and more difficult case, the most essential members of the principal chords, and those chromatic tones which define the modulations, must be sought for, must be picked out. It should not be forgotten that a chord may be dispersed over several counts in the measure, and that in many a rapid passage it is the sum total of a number of notes which gives the chord impression, if the chord be dissolved.", "original": "In the former case the chords are dissolved in the accompaniment, and though they are at times invested with foreign tones, they are so plain before the eye that no example is needful here. In the latter and more difficult case, the most essential members of the principal chords, and those chromatic tones which define the modulations, must be sought for, must be picked out. It should not be forgotten that a chord may be dispersed over several counts in the measure, and that in many a rapid passage it is the sum total of a number of notes which gives the chord impression, if the chord be dissolved.", "reading_order": 546 }, { "id": "cutter-p091-5", "type": "paragraph", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "english": "Generally by playing simultaneously those tones which define the chord structure, Two-part Writing may be resolved to fairly complete harmony, although sometimes badly disjointed in the resolutions. In deciding on modulations, the tempo must be borne in mind. It is well to remember that the principal chords predominate, in order that the key effects may be strong and unmistakable.", "original": "Generally by playing simultaneously those tones which define the chord structure, Two-part Writing may be resolved to fairly complete harmony, although sometimes badly disjointed in the resolutions. In deciding on modulations, the tempo must be borne in mind. It is well to remember that the principal chords predominate, in order that the key effects may be strong and unmistakable.", "reading_order": 547 }, { "id": "cutter-p091-6c", "type": "caption", "english": "Ex. 125 · Con moto. Cramer, Etude.", "original": "Ex. 125 · Con moto. Cramer, Etude.", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "reading_order": 548 }, { "id": "cutter-p091-6", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "asset_refs": [ "ex-125" ], "reading_order": 549 }, { "id": "cutter-p091-7", "type": "footnote", "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "english": "* See Principle 14.", "original": "* See Principle 14.", "reading_order": 550 }, { "id": "cutter-p092-1c", "type": "caption", "english": "Ex. 126 · Moderato. Cramer, Etude.", "original": "Ex. 126 · Moderato. Cramer, Etude.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "reading_order": 551 }, { "id": "cutter-p092-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "asset_refs": [ "ex-126" ], "reading_order": 552 }, { "id": "cutter-p092-2c", "type": "caption", "english": "Ex. 127 · Molto Allegro. Chopin, Prelude.", "original": "Ex. 127 · Molto Allegro. Chopin, Prelude.", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "reading_order": 553 }, { "id": "cutter-p092-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "asset_refs": [ "ex-127" ], "reading_order": 554 }, { "id": "cutter-p092-3", "type": "heading", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "heading_level": 3, "english": "Section 55. One-part Writing and the Cadenza.", "original": "Section 55. One-part Writing and the Cadenza.", "reading_order": 555 }, { "id": "cutter-p092-4", "type": "paragraph", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "english": "They appear in various forms:", "original": "They appear in various forms:", "reading_order": 556 }, { "id": "cutter-p092-5", "type": "paragraph", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "english": "1. As the ornamentation of one single and prolonged chord, usually the tonic six-four or the dominant;", "original": "1. As the ornamentation of one single and prolonged chord, usually the tonic six-four or the dominant;", "inline": [ { "text": "1. " }, { "text": "As the ornamentation of one single and prolonged chord, usually the tonic six-four or the dominant", "tag": "strong" }, { "text": ";" } ], "reading_order": 557 }, { "id": "cutter-p092-6", "type": "paragraph", "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "english": "2. As the investment in foreign tones of a plain chord structure, easily picked out;", "original": "2. As the investment in foreign tones of a plain chord structure, easily picked out;", "inline": [ { "text": "2. " }, { "text": "As the investment in foreign tones of a plain chord structure, easily picked out", "tag": "strong" }, { "text": ";" } ], "reading_order": 558 }, { "id": "cutter-p093-1", "type": "paragraph", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "english": "3. As the sequential ornamentation of a chromatic scale, moving generally above one single chord;", "original": "3. As the sequential ornamentation of a chromatic scale, moving generally above one single chord;", "inline": [ { "text": "3. " }, { "text": "As the sequential ornamentation of a chromatic scale, moving generally above one single chord", "tag": "strong" }, { "text": ";" } ], "reading_order": 559 }, { "id": "cutter-p093-2", "type": "paragraph", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "english": "4. As the sequential development of some harmonic motive of several members, sometimes readily defined, again difficult of explanation, although clear in its outcome.", "original": "4. As the sequential development of some harmonic motive of several members, sometimes readily defined, again difficult of explanation, although clear in its outcome.", "inline": [ { "text": "4. " }, { "text": "As the sequential development of some harmonic motive of several members, sometimes readily defined, again difficult of explanation, although clear in its outcome.", "tag": "strong" } ], "reading_order": 560 }, { "id": "cutter-p093-3", "type": "paragraph", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "english": "The marking must follow the characteristics of the passage. No definite rule may be given applicable to all cases. Following the above classification, these general ideas are suggested:", "original": "The marking must follow the characteristics of the passage. No definite rule may be given applicable to all cases. Following the above classification, these general ideas are suggested:", "reading_order": 561 }, { "id": "cutter-p093-4", "type": "paragraph", "english": "Fix on the chord, mark it once below the staff, and then give each foreign tone its sign;\nDefine the chords, and then mark as in No. 1;\nFix on the motive of the sequence and mark it, and then mark those principal notes, so-called, over which the sequence moves, whether they be chord tones or foreign tones, the unessential tones in each transposition of the figure being marked only in the motive or model (see Sequence);\nDefine and mark the motive, with its possible modulations, and then follow the working out (the task will be simplified if a bracket be drawn over the motive and over each repetition).", "original": "Fix on the chord, mark it once below the staff, and then give each foreign tone its sign;\nDefine the chords, and then mark as in No. 1;\nFix on the motive of the sequence and mark it, and then mark those principal notes, so-called, over which the sequence moves, whether they be chord tones or foreign tones, the unessential tones in each transposition of the figure being marked only in the motive or model (see Sequence);\nDefine and mark the motive, with its possible modulations, and then follow the working out (the task will be simplified if a bracket be drawn over the motive and over each repetition).", "ordered": true, "list_items": [ [ { "text": "Fix on the chord, " }, { "text": "mark it once", "tag": "em" }, { "text": " below the staff, and then give each foreign tone its sign;" } ], [ { "text": "Define the chords, and then mark as in No. 1;" } ], [ { "text": "Fix on the motive of the sequence and mark it, and then mark those principal notes, so-called, over which the sequence moves, whether they be chord tones or foreign tones, the unessential tones in each transposition of the figure being marked only in the motive or model (see Sequence);" } ], [ { "text": "Define and mark the motive, with its possible modulations, and then follow the working out (the task will be simplified if a bracket be drawn over the motive and over each repetition)." } ] ], "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "reading_order": 562 }, { "id": "cutter-p093-5c", "type": "caption", "english": "Ex. 128 · Animato. Chopin, Nocturne.", "original": "Ex. 128 · Animato. Chopin, Nocturne.", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "reading_order": 563 }, { "id": "cutter-p093-5", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "asset_refs": [ "ex-128" ], "reading_order": 564 }, { "id": "cutter-p094-1c", "type": "caption", "english": "Ex. 129 · Allegro. Beethoven, Op. 10.", "original": "Ex. 129 · Allegro. Beethoven, Op. 10.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 } ], "reading_order": 565 }, { "id": "cutter-p094-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 } ], "asset_refs": [ "ex-129" ], "reading_order": 566 }, { "id": "cutter-p094-2c", "type": "caption", "english": "Ex. 130 · Allegretto. Chopin, Nocturne.", "original": "Ex. 130 · Allegretto. Chopin, Nocturne.", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 } ], "reading_order": 567 }, { "id": "cutter-p094-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 } ], "asset_refs": [ "ex-130" ], "reading_order": 568 }, { "id": "cutter-p095-2c", "type": "caption", "english": "Ex. 131 · Molto allegro. Chopin, Prelude.", "original": "Ex. 131 · Molto allegro. Chopin, Prelude.", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "reading_order": 569 }, { "id": "cutter-p095-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "asset_refs": [ "ex-131" ], "reading_order": 570 }, { "id": "cutter-p095-3", "type": "heading", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "heading_level": 3, "english": "Section 56. Reduction (continued); its Application in Memorizing and in Sight Playing.", "original": "Section 56. Reduction (continued); its Application in Memorizing and in Sight Playing.", "inline": [ { "text": "Section 56. Reduction (" }, { "text": "continued", "tag": "em" }, { "text": "); its Application in Memorizing and in Sight Playing." } ], "reading_order": 571 }, { "id": "cutter-p095-4", "type": "paragraph", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "english": "One purpose underlying the writing of this book was that of making Playing by Memory and Playing at Sight easier to learn through an application of Harmonic Analysis. Although the bounds here are too narrow to allow an exhaustive discussion, it is thought that the student may be shown how to command his material and heighten his usefulness.", "original": "One purpose underlying the writing of this book was that of making Playing by Memory and Playing at Sight easier to learn through an application of Harmonic Analysis. Although the bounds here are too narrow to allow an exhaustive discussion, it is thought that the student may be shown how to command his material and heighten his usefulness.", "reading_order": 572 }, { "id": "cutter-p095-5", "type": "paragraph", "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 }, { "pdf_page": 96, "source_image": "source-pages/p-096.jpg", "printed_page": 81 } ], "english": "In studying thus far he will have seen that all music is either plain or figurate, and that a piece of figurated music is always built on a plain harmonic structure. He must have learned that this harmonic structure is a concrete thing; that it may be taken hold of, as it were; may be played by itself, giving a good idea of the whole. He must have begun to realize that in playing from memory there is given to the player a greater assurance, if he knows that at a certain point he is to use such and such a chord, or to go to such a key, or that a certain cadence begins with the Neapolitan Sixth—than if he does not know it. It costs him no unusual effort to remember this Neapolitan Sixth; no more than it costs him to remember that going down a certain street Mr. Y.’s house will be passed before Mr. W.’s. The effort was needed in learning to know and to recognize in the first place this especial chord; when once learned it became a part of the mental furniture, ever ready for use.", "original": "In studying thus far he will have seen that all music is either plain or figurate, and that a piece of figurated music is always built on a plain harmonic structure. He must have learned that this harmonic structure is a concrete thing; that it may be taken hold of, as it were; may be played by itself, giving a good idea of the whole. He must have begun to realize that in playing from memory there is given to the player a greater assurance, if he knows that at a certain point he is to use such and such a chord, or to go to such a key, or that a certain cadence begins with the Neapolitan Sixth—than if he does not know it. It costs him no unusual effort to remember this Neapolitan Sixth; no more than it costs him to remember that going down a certain street Mr. Y.’s house will be passed before Mr. W.’s. The effort was needed in learning to know and to recognize in the first place this especial chord; when once learned it became a part of the mental furniture, ever ready for use.", "reading_order": 573 }, { "id": "cutter-p096-2", "type": "paragraph", "sources": [ { "pdf_page": 96, "source_image": "source-pages/p-096.jpg", "printed_page": 81 } ], "english": "Experience shows that when a piece of music is committed to memory through a knowledge of the harmonic structure, there is a certainty of performance unknown when the piece is committed—as is usually the case—by many repetitions. In this latter instance—that of many repetitions—automatic impulses are made on the sub-consciousness; impressions on that part of the nervous system which controls habitual acts; and experience shows, also, that if in performance anything happens to disturb the performer, or if, as is often the case, the physical forces perchance take an ebb, the thread is suddenly broken, and a repetition of the piece will cause, generally, according to what seems to be a law of the mind, a second break-down at the self-same place—a thing some of our readers may possibly have observed.", "original": "Experience shows that when a piece of music is committed to memory through a knowledge of the harmonic structure, there is a certainty of performance unknown when the piece is committed—as is usually the case—by many repetitions. In this latter instance—that of many repetitions—automatic impulses are made on the sub-consciousness; impressions on that part of the nervous system which controls habitual acts; and experience shows, also, that if in performance anything happens to disturb the performer, or if, as is often the case, the physical forces perchance take an ebb, the thread is suddenly broken, and a repetition of the piece will cause, generally, according to what seems to be a law of the mind, a second break-down at the self-same place—a thing some of our readers may possibly have observed.", "reading_order": 574 }, { "id": "cutter-p096-3", "type": "paragraph", "sources": [ { "pdf_page": 96, "source_image": "source-pages/p-096.jpg", "printed_page": 81 } ], "english": "If, however, to these impressions stored in the sub-consciousness through many repetitions, there be added impressions stored in another way and on the consciousness, namely, volitional impulses, subject to the call of the will in its demands on the motor nervous system—as is, for instance, the mental picture of a certain progression occurring in a certain place—then the surety of performance in playing from memory is heightened very greatly; for these two parts of the human make-up will play the one into the other; the one will help the other; and the chances are that where the one fails the other will be ready to carry on the process. Too much stress cannot be laid, then, on making an effort to memorize through a knowledge and use of Harmonic Analysis.", "original": "If, however, to these impressions stored in the sub-consciousness through many repetitions, there be added impressions stored in another way and on the consciousness, namely, volitional impulses, subject to the call of the will in its demands on the motor nervous system—as is, for instance, the mental picture of a certain progression occurring in a certain place—then the surety of performance in playing from memory is heightened very greatly; for these two parts of the human make-up will play the one into the other; the one will help the other; and the chances are that where the one fails the other will be ready to carry on the process. Too much stress cannot be laid, then, on making an effort to memorize through a knowledge and use of Harmonic Analysis.", "reading_order": 575 }, { "id": "cutter-p097-1", "type": "paragraph", "sources": [ { "pdf_page": 97, "source_image": "source-pages/p-097.jpg", "printed_page": 82 } ], "english": "The piano player must know, for instance, the keys which mark the beginning of each strain he is to play. If there is a peculiar progression, this he must know thoroughly; for example, it will help him in memorizing Chopin’s Eighth Prelude to know that in the eighth measure the figure moves down the chromatic scale through successive dominant sevenths, and that at the end of this group is a dominant seventh chord with a suspended root in the bass, and occupying not one count, like the other chords, but two counts. This seems much to remember. If the habit has been formed of thinking of such things, it is little. For after some practice the student will be able to keep such matters in his mind and to help himself as he plays, and the mental habit once started will grow readily. And if he says: “This savors of pedantry,” let him remember that of such minutiae are pieces of music made. A good artisan cannot be unmindful of the material in which he is working; nor can the musician. He is not to remember every tone, every little tone. The sub-conscious part of his nervous system does that; and a wise provision of nature it is, too. He is to learn, first, to remember a few details and to hold himself in readiness to produce them as he plays—a series of rising diminished sevenths, or a sequence. After a time his mind, through the motor nerves, the will part, will stand ready to assist, as said before, and by looking ahead and seeing those features which it has grasped and retained, will give him a number of guiding points, beacons, by the way. We can only say, in closing this portion of our discussion, that it is wonderful how well and easily, how surely and quickly, the mind will begin to work if this sort of thing be practised regularly and persistently.", "original": "The piano player must know, for instance, the keys which mark the beginning of each strain he is to play. If there is a peculiar progression, this he must know thoroughly; for example, it will help him in memorizing Chopin’s Eighth Prelude to know that in the eighth measure the figure moves down the chromatic scale through successive dominant sevenths, and that at the end of this group is a dominant seventh chord with a suspended root in the bass, and occupying not one count, like the other chords, but two counts. This seems much to remember. If the habit has been formed of thinking of such things, it is little. For after some practice the student will be able to keep such matters in his mind and to help himself as he plays, and the mental habit once started will grow readily. And if he says: “This savors of pedantry,” let him remember that of such minutiae are pieces of music made. A good artisan cannot be unmindful of the material in which he is working; nor can the musician. He is not to remember every tone, every little tone. The sub-conscious part of his nervous system does that; and a wise provision of nature it is, too. He is to learn, first, to remember a few details and to hold himself in readiness to produce them as he plays—a series of rising diminished sevenths, or a sequence. After a time his mind, through the motor nerves, the will part, will stand ready to assist, as said before, and by looking ahead and seeing those features which it has grasped and retained, will give him a number of guiding points, beacons, by the way. We can only say, in closing this portion of our discussion, that it is wonderful how well and easily, how surely and quickly, the mind will begin to work if this sort of thing be practised regularly and persistently.", "reading_order": 576 }, { "id": "cutter-p097-2", "type": "paragraph", "sources": [ { "pdf_page": 97, "source_image": "source-pages/p-097.jpg", "printed_page": 82 }, { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 83 } ], "english": "Going farther in our contention, it is a wonderful help to the sight player if in a piece of figuration he is able to see through the mass of notes and to behold the backbone, the framework of the whole affair. He will then possess a grip on the piece; he will play with an ease and a surety unknown to that sight player who regards the maze of printed notes as mere signs which his eye must see and decipher, perhaps painfully, in their succession, and which his fingers are to interpret one after the other. There is such a thing as “the Glance.” It is possessed in greater or less degree by all good sight readers. In its lowest form it is a natural gift unaccompanied by any knowledge of harmony, and those who possess it are able to read music within their technical skill without hesitation. This group is a small one. A larger group is that formed of those of more or less theoretical knowledge; it contains those, for example, who, on seeing a group of notes such as that in Exercise 16, recognize the chord and play it as a chord, as a form of arpeggio. Such a player has an enviable advantage over him of the first group. This group is a large one. We place in the third group those who with great natural gifts have by long study reached the end of sight playing, in the shape of playing from the modern orchestral score. This is a possession attained by comparatively few. It is to the middle class that we now speak.", "original": "Going farther in our contention, it is a wonderful help to the sight player if in a piece of figuration he is able to see through the mass of notes and to behold the backbone, the framework of the whole affair. He will then possess a grip on the piece; he will play with an ease and a surety unknown to that sight player who regards the maze of printed notes as mere signs which his eye must see and decipher, perhaps painfully, in their succession, and which his fingers are to interpret one after the other. There is such a thing as “the Glance.” It is possessed in greater or less degree by all good sight readers. In its lowest form it is a natural gift unaccompanied by any knowledge of harmony, and those who possess it are able to read music within their technical skill without hesitation. This group is a small one. A larger group is that formed of those of more or less theoretical knowledge; it contains those, for example, who, on seeing a group of notes such as that in Exercise 16, recognize the chord and play it as a chord, as a form of arpeggio. Such a player has an enviable advantage over him of the first group. This group is a large one. We place in the third group those who with great natural gifts have by long study reached the end of sight playing, in the shape of playing from the modern orchestral score. This is a possession attained by comparatively few. It is to the middle class that we now speak.", "reading_order": 577 }, { "id": "cutter-p098-2", "type": "paragraph", "sources": [ { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 83 } ], "english": "Aside from the great advantage over the natural sight player possessed by him who can look at a chord passage and read and interpret it as a whole—as in the case of Exercise 16, mentioned above—there is an element little made of in general teaching, which, if carried out far enough, will produce excellent results—that of playing a Reduction, of seeing the chord structure as one plays the actual notes before him.", "original": "Aside from the great advantage over the natural sight player possessed by him who can look at a chord passage and read and interpret it as a whole—as in the case of Exercise 16, mentioned above—there is an element little made of in general teaching, which, if carried out far enough, will produce excellent results—that of playing a Reduction, of seeing the chord structure as one plays the actual notes before him.", "reading_order": 578 }, { "id": "cutter-p098-3", "type": "paragraph", "sources": [ { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 83 } ], "english": "And as material well fitted to give one this mental habit, we recommend the Fifty Selected Studies of Cramer. We add below Examples showing how these Reductions should be made, and a List giving the order in which they may be practised. It will be seen, on studying the Examples, that the voices must be kept in vocal compass, and should be quietly led, although occasional breaks in the leading may be unavoidable in the compression of a very florid structure. These reductions should be played over and over until they are easy and a habit has been formed which enables one to see the framework in playing at sight. In other words, one must learn to play chords, and we suggest that the practice of this thing be persevered in until one has acquired a mastery. It will be found profitable to practise in this way on pieces of all kinds.", "original": "And as material well fitted to give one this mental habit, we recommend the Fifty Selected Studies of Cramer. We add below Examples showing how these Reductions should be made, and a List giving the order in which they may be practised. It will be seen, on studying the Examples, that the voices must be kept in vocal compass, and should be quietly led, although occasional breaks in the leading may be unavoidable in the compression of a very florid structure. These reductions should be played over and over until they are easy and a habit has been formed which enables one to see the framework in playing at sight. In other words, one must learn to play chords, and we suggest that the practice of this thing be persevered in until one has acquired a mastery. It will be found profitable to practise in this way on pieces of all kinds.", "inline": [ { "text": "And as material well fitted to give one this mental habit, we recommend the " }, { "text": "Fifty Selected Studies", "tag": "em" }, { "text": " of Cramer. We add below Examples showing how these Reductions should be made, and a List giving the order in which they may be practised. It will be seen, on studying the Examples, that the voices must be kept in vocal compass, and should be quietly led, although occasional breaks in the leading may be unavoidable in the compression of a very florid structure. These reductions should be played over and over until they are easy and a habit has been formed which enables one to see the framework in playing at sight. In other words, one must learn to play chords, and we suggest that the practice of this thing be persevered in until one has acquired a mastery. It will be found profitable to practise in this way on pieces of all kinds." } ], "reading_order": 579 }, { "id": "cutter-p098-4", "type": "paragraph", "sources": [ { "pdf_page": 98, "source_image": "source-pages/p-098.jpg", "printed_page": 83 } ], "english": "List. Nos. 2, 3, 6, 9, 16, 17, 20, 30, 24, 27, 28, 37, 38, 41, 44, easy, the chord element being plain to the eye; 1, 5, 8, 18, 21, 26, 39, 32, 47, 19, 39, 34, 31, 40, 22, 4, more difficult; these contain sequences and figuration more or less involved.", "original": "List. Nos. 2, 3, 6, 9, 16, 17, 20, 30, 24, 27, 28, 37, 38, 41, 44, easy, the chord element being plain to the eye; 1, 5, 8, 18, 21, 26, 39, 32, 47, 19, 39, 34, 31, 40, 22, 4, more difficult; these contain sequences and figuration more or less involved.", "reading_order": 580 }, { "id": "cutter-p099-1", "type": "heading", "sources": [ { "pdf_page": 99, "source_image": "source-pages/p-099.jpg", "printed_page": 84 } ], "heading_level": 3, "english": "REDUCTIONS OF THE CRAMER STUDIES.", "original": "REDUCTIONS OF THE CRAMER STUDIES.", "reading_order": 581 }, { "id": "cutter-p099-2c", "type": "caption", "english": "Ex. 132 · Allegro.", "original": "Ex. 132 · Allegro.", "sources": [ { "pdf_page": 99, "source_image": "source-pages/p-099.jpg", "printed_page": 84 } ], "reading_order": 582 }, { "id": "cutter-p099-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 99, "source_image": "source-pages/p-099.jpg", "printed_page": 84 } ], "asset_refs": [ "ex-132" ], "reading_order": 583 }, { "id": "cutter-p100-1", "type": "heading", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "heading_level": 3, "english": "REDUCTIONS—TO BE WRITTEN.", "original": "REDUCTIONS—TO BE WRITTEN.", "reading_order": 584 }, { "id": "cutter-p100-2c", "type": "caption", "english": "Ex. 133 · Andante. Franck, L’Organiste.", "original": "Ex. 133 · Andante. Franck, L’Organiste.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "reading_order": 585 }, { "id": "cutter-p100-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "asset_refs": [ "ex-133" ], "reading_order": 586 }, { "id": "cutter-p100-3c", "type": "caption", "english": "Ex. 134 · Moderato. Schumann, Op. 15.", "original": "Ex. 134 · Moderato. Schumann, Op. 15.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "reading_order": 587 }, { "id": "cutter-p100-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "asset_refs": [ "ex-134" ], "reading_order": 588 }, { "id": "cutter-p100-4c", "type": "caption", "english": "Ex. 135 · Allegro. Wagner, Flying Dutchman.", "original": "Ex. 135 · Allegro. Wagner, Flying Dutchman.", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "reading_order": 589 }, { "id": "cutter-p100-4", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "asset_refs": [ "ex-135" ], "reading_order": 590 }, { "id": "cutter-p101-1c", "type": "caption", "english": "Ex. 136 · Piano agitato. Mendelssohn, Song without Words.", "original": "Ex. 136 · Piano agitato. Mendelssohn, Song without Words.", "sources": [ { "pdf_page": 101, "source_image": "source-pages/p-101.jpg", "printed_page": 86 } ], "reading_order": 591 }, { "id": "cutter-p101-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 101, "source_image": "source-pages/p-101.jpg", "printed_page": 86 } ], "asset_refs": [ "ex-136" ], "reading_order": 592 }, { "id": "cutter-p102-2c", "type": "caption", "english": "Ex. 137 · Allegro. Chopin, Prelude.", "original": "Ex. 137 · Allegro. Chopin, Prelude.", "sources": [ { "pdf_page": 102, "source_image": "source-pages/p-102.jpg", "printed_page": 87 } ], "reading_order": 593 }, { "id": "cutter-p102-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 102, "source_image": "source-pages/p-102.jpg", "printed_page": 87 } ], "asset_refs": [ "ex-137" ], "reading_order": 594 }, { "id": "cutter-p102-3", "type": "footnote", "sources": [ { "pdf_page": 102, "source_image": "source-pages/p-102.jpg", "printed_page": 87 } ], "english": "* In the original the left hand doubles this right-hand part in the lower octave.", "original": "* In the original the left hand doubles this right-hand part in the lower octave.", "reading_order": 595 }, { "id": "cutter-p103-2", "type": "heading", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "heading_level": 3, "english": "Section 57. Full Table of Signs.", "original": "Section 57. Full Table of Signs.", "reading_order": 596 }, { "id": "cutter-p103-3", "type": "paragraph", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "english": "A capital letter shows a major key; a small letter shows a minor key; a large Roman numeral shows a major triad, and a small Roman numeral a minor triad. The sign + shows the augmentation of a triad, and the sign ° the diminution of a triad.", "original": "A capital letter shows a major key; a small letter shows a minor key; a large Roman numeral shows a major triad, and a small Roman numeral a minor triad. The sign + shows the augmentation of a triad, and the sign ° the diminution of a triad.", "reading_order": 597 }, { "id": "cutter-p103-4", "type": "paragraph", "english": "Triads in Major. Triads in Minor. I i ii ii° iii III+ IV iv V V vi VI vii° vii°", "original": "Triads in Major. Triads in Minor. I i ii ii° iii III+ IV iv V V vi VI vii° vii°", "tables": { "en": { "columns": [ "Triads in Major.", "Triads in Minor." ], "rows": [ [ "I", "i" ], [ "ii", "ii°" ], [ "iii", "III+" ], [ "IV", "iv" ], [ "V", "V" ], [ "vi", "VI" ], [ "vii°", "vii°" ] ] } }, "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "reading_order": 598 }, { "id": "cutter-p103-5", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "asset_refs": [ "fig-103-1" ], "reading_order": 599 }, { "id": "cutter-p103-6", "type": "paragraph", "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 }, { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "english": "The inversion of triads and of seventh chords, both principal and subordinate, will be indicated by the customary figurings: 6, 6/4, 6/5, 4/3, 4/2, attached to the respective Roman numerals. Or, the letters a, b, c, d, meaning root-form, first, second, and third inversions, may be used with these same numerals; thus: Ia, Ib, Ic, ii°⁷a, ii°⁷b, ii°⁷c, III+b, iii⁷c, etc. The diminished seventh chord, in its various forms, will be marked: vii°7°, vii°6/5, vii°4/3, vii°4/2, or: vii°⁷°a, vii°⁷°b, vii°⁷°c, vii°⁷°d.", "original": "The inversion of triads and of seventh chords, both principal and subordinate, will be indicated by the customary figurings: 6, 6/4, 6/5, 4/3, 4/2, attached to the respective Roman numerals. Or, the letters a, b, c, d, meaning root-form, first, second, and third inversions, may be used with these same numerals; thus: Ia, Ib, Ic, ii°⁷a, ii°⁷b, ii°⁷c, III+b, iii⁷c, etc. The diminished seventh chord, in its various forms, will be marked: vii°7°, vii°6/5, vii°4/3, vii°4/2, or: vii°⁷°a, vii°⁷°b, vii°⁷°c, vii°⁷°d.", "inline": [ { "text": "The inversion of triads and of seventh chords, both principal and subordinate, will be indicated by the customary figurings: 6, 6/4, 6/5, 4/3, 4/2, attached to the respective Roman numerals. Or, the letters " }, { "text": "a", "tag": "em" }, { "text": ", " }, { "text": "b", "tag": "em" }, { "text": ", " }, { "text": "c", "tag": "em" }, { "text": ", " }, { "text": "d", "tag": "em" }, { "text": ", meaning root-form, first, second, and third inversions, may be used with these same numerals; thus: Ia, Ib, Ic, ii°⁷a, ii°⁷b, ii°⁷c, III+b, iii⁷c, etc. The diminished seventh chord, in its various forms, will be marked: vii°7°, vii°6/5, vii°4/3, vii°4/2, or: vii°⁷°a, vii°⁷°b, vii°⁷°c, vii°⁷°d." } ], "reading_order": 600 }, { "id": "cutter-p104-2", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "asset_refs": [ "fig-104-1" ], "reading_order": 601 }, { "id": "cutter-p104-3", "type": "paragraph", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "english": "Altered Chords. These may be indicated by writing below the proper Roman numeral, and the sign of inversion, if there be an inversion, figures accompanied by the proper accidentals, these being placed in brackets. Thus, ii°6/5 [♯3] means: supertonic six-five, with 5 [=3] diminished fifth, and sharp third.", "original": "Altered Chords. These may be indicated by writing below the proper Roman numeral, and the sign of inversion, if there be an inversion, figures accompanied by the proper accidentals, these being placed in brackets. Thus, ii°6/5 [♯3] means: supertonic six-five, with 5 [=3] diminished fifth, and sharp third.", "inline": [ { "text": "Altered Chords.", "tag": "strong" }, { "text": " These may be indicated by writing below the proper Roman numeral, and the sign of inversion, if there be an inversion, figures accompanied by the proper accidentals, these being placed in brackets. Thus, ii°6/5 [♯3] means: supertonic six-five, with 5 [=3] diminished fifth, and sharp third." } ], "reading_order": 602 }, { "id": "cutter-p104-4", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "asset_refs": [ "fig-104-2" ], "reading_order": 603 }, { "id": "cutter-p104-5", "type": "paragraph", "english": "The Appoggiatura, App.; Double or Triple Appoggiatura, D. or T. App.\nThe Appoggiatura Chord, App. Chd.\nThe Free Tone, F. T.\nThe Accented Passing Tone, O; the Unaccented Passing Tone +.\nThe Embellishment, E.\nThe Embellishing Chord, E. Chd., or E. Chd. vi6/5 [♯1] [♯3]\nThe Suspension, S.\nThe Anticipation, A.\nThe Free Anticipation, F. A.\nThe Retardation, R.\nThe Organ Point: Tonic, T. O. P.; Dominant, D. O. P.; Mediant, M. O. P.; Double, Dbl. O. P.", "original": "The Appoggiatura, App.; Double or Triple Appoggiatura, D. or T. App.\nThe Appoggiatura Chord, App. Chd.\nThe Free Tone, F. T.\nThe Accented Passing Tone, O; the Unaccented Passing Tone +.\nThe Embellishment, E.\nThe Embellishing Chord, E. Chd., or E. Chd. vi6/5 [♯1] [♯3]\nThe Suspension, S.\nThe Anticipation, A.\nThe Free Anticipation, F. A.\nThe Retardation, R.\nThe Organ Point: Tonic, T. O. P.; Dominant, D. O. P.; Mediant, M. O. P.; Double, Dbl. O. P.", "ordered": false, "list_items": [ [ { "text": "The Appoggiatura", "tag": "em" }, { "text": ", App.; " }, { "text": "Double or Triple Appoggiatura", "tag": "em" }, { "text": ", D. or T. App." } ], [ { "text": "The Appoggiatura Chord", "tag": "em" }, { "text": ", App. Chd." } ], [ { "text": "The Free Tone", "tag": "em" }, { "text": ", F. T." } ], [ { "text": "The Accented Passing Tone", "tag": "em" }, { "text": ", O; the Unaccented Passing Tone +." } ], [ { "text": "The Embellishment", "tag": "em" }, { "text": ", E." } ], [ { "text": "The Embellishing Chord", "tag": "em" }, { "text": ", E. Chd., or E. Chd. vi6/5 [♯1] [♯3]" } ], [ { "text": "The Suspension", "tag": "em" }, { "text": ", S." } ], [ { "text": "The Anticipation", "tag": "em" }, { "text": ", A." } ], [ { "text": "The Free Anticipation", "tag": "em" }, { "text": ", F. A." } ], [ { "text": "The Retardation", "tag": "em" }, { "text": ", R." } ], [ { "text": "The Organ Point", "tag": "em" }, { "text": ": Tonic, T. O. P.; Dominant, D. O. P.; Mediant, M. O. P.; Double, Dbl. O. P." } ] ], "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "reading_order": 604 }, { "id": "cutter-p104-6", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "asset_refs": [ "fig-104-3" ], "reading_order": 605 }, { "id": "cutter-p104-7", "type": "heading", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "heading_level": 3, "english": "Section 58. Special Remarks to the Teacher.", "original": "Section 58. Special Remarks to the Teacher.", "reading_order": 606 }, { "id": "cutter-p104-8", "type": "paragraph", "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 }, { "pdf_page": 105, "source_image": "source-pages/p-105.jpg", "printed_page": 90 } ], "english": "The value of this course of instruction may possibly be heightened by the following application: The text-book is used as a book of reference; the teacher selects a piece of proper difficulty,—say, for those who have worked through Part I and Part II, the Beethoven Piano Sonata, Op. 10, No. 2, movement I, and directs the class to give attention in analyzing to the following features which occur in the movement: Suspensions, Appoggiaturas, Altered Chords, Sequences, Augmented Chords. This procedure focusses the mind on certain definite features and makes the work of learning very direct; it also gives the student, generally, several examples of the same thing,—several Suspensions, for instance.", "original": "The value of this course of instruction may possibly be heightened by the following application: The text-book is used as a book of reference; the teacher selects a piece of proper difficulty,—say, for those who have worked through Part I and Part II, the Beethoven Piano Sonata, Op. 10, No. 2, movement I, and directs the class to give attention in analyzing to the following features which occur in the movement: Suspensions, Appoggiaturas, Altered Chords, Sequences, Augmented Chords. This procedure focusses the mind on certain definite features and makes the work of learning very direct; it also gives the student, generally, several examples of the same thing,—several Suspensions, for instance.", "reading_order": 607 }, { "id": "cutter-p105-2", "type": "paragraph", "sources": [ { "pdf_page": 105, "source_image": "source-pages/p-105.jpg", "printed_page": 90 } ], "english": "To lay out a course in this line would be difficult. The judgment of the teacher must be called into play, and a certain amount of this work will be very beneficial. But it should not cause the student to neglect the General Exercises in Part IV, which contain characteristic and individual passages.", "original": "To lay out a course in this line would be difficult. The judgment of the teacher must be called into play, and a certain amount of this work will be very beneficial. But it should not cause the student to neglect the General Exercises in Part IV, which contain characteristic and individual passages.", "reading_order": 608 }, { "id": "cutter-p106-1", "type": "heading", "sources": [ { "pdf_page": 106, "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106" } ], "heading_level": 2, "english": "PART FOUR.", "original": "PART FOUR.", "reading_order": 609 }, { "id": "cutter-p106-2", "type": "heading", "sources": [ { "pdf_page": 106, "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106" } ], "heading_level": 3, "english": "Section 59. General Exercises.", "original": "Section 59. General Exercises.", "reading_order": 610 }, { "id": "cutter-p106-3c", "type": "caption", "english": "Ex. 138 · Allegretto. Scriabine, Prelude.", "original": "Ex. 138 · Allegretto. Scriabine, Prelude.", "sources": [ { "pdf_page": 106, "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106" } ], "reading_order": 611 }, { "id": "cutter-p106-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 106, "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106" } ], "asset_refs": [ "ex-138" ], "reading_order": 612 }, { "id": "cutter-p107-1c", "type": "caption", "english": "Ex. 139 · Adagio con molto espressione. Goldmark, Violin Suite.", "original": "Ex. 139 · Adagio con molto espressione. Goldmark, Violin Suite.", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_page": 92 } ], "reading_order": 613 }, { "id": "cutter-p107-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_page": 92 } ], "asset_refs": [ "ex-139" ], "reading_order": 614 }, { "id": "cutter-p107-2c", "type": "caption", "english": "Ex. 140 · Vivace. Chopin, Valse.", "original": "Ex. 140 · Vivace. Chopin, Valse.", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_page": 92 } ], "reading_order": 615 }, { "id": "cutter-p107-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_page": 92 } ], "asset_refs": [ "ex-140" ], "reading_order": 616 }, { "id": "cutter-p108-2c", "type": "caption", "english": "Ex. 141 · Allegro. Wagner, Götterdämmerung.", "original": "Ex. 141 · Allegro. Wagner, Götterdämmerung.", "sources": [ { "pdf_page": 108, "source_image": "source-pages/p-108.jpg", "printed_page": 93 } ], "reading_order": 617 }, { "id": "cutter-p108-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 108, "source_image": "source-pages/p-108.jpg", "printed_page": 93 } ], "asset_refs": [ "ex-141" ], "reading_order": 618 }, { "id": "cutter-p109-2c", "type": "caption", "english": "Ex. 142 · Allegro. J. Wihtol, Prelude.", "original": "Ex. 142 · Allegro. J. Wihtol, Prelude.", "sources": [ { "pdf_page": 109, "source_image": "source-pages/p-109.jpg", "printed_page": 94 } ], "reading_order": 619 }, { "id": "cutter-p109-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 109, "source_image": "source-pages/p-109.jpg", "printed_page": 94 } ], "asset_refs": [ "ex-142" ], "reading_order": 620 }, { "id": "cutter-p110-1c", "type": "caption", "english": "Ex. 143 · Allegretto. Sinding, Violin Suite.", "original": "Ex. 143 · Allegretto. Sinding, Violin Suite.", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95 } ], "reading_order": 621 }, { "id": "cutter-p110-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95 } ], "asset_refs": [ "ex-143" ], "reading_order": 622 }, { "id": "cutter-p111-2c", "type": "caption", "english": "Ex. 144 · Ziemlich schnell (poco Allegro). R. Strauss, Song, Op. 49.", "original": "Ex. 144 · Ziemlich schnell (poco Allegro). R. Strauss, Song, Op. 49.", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "reading_order": 623 }, { "id": "cutter-p111-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "asset_refs": [ "ex-144" ], "reading_order": 624 }, { "id": "cutter-p112-2c", "type": "caption", "english": "Ex. 145 · Lento. Rachmaninoff, Prelude.", "original": "Ex. 145 · Lento. Rachmaninoff, Prelude.", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "reading_order": 625 }, { "id": "cutter-p112-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "asset_refs": [ "ex-145" ], "reading_order": 626 }, { "id": "cutter-p113-2c", "type": "caption", "english": "Ex. 146 · Allegro. J. Raff, Violin Sonata.", "original": "Ex. 146 · Allegro. J. Raff, Violin Sonata.", "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_page": 98 } ], "reading_order": 627 }, { "id": "cutter-p113-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_page": 98 } ], "asset_refs": [ "ex-146" ], "reading_order": 628 }, { "id": "cutter-p114-2c", "type": "caption", "english": "Ex. 147 · Allegro non troppo. Rimsky-Korsakoff, Scheherazade.", "original": "Ex. 147 · Allegro non troppo. Rimsky-Korsakoff, Scheherazade.", "sources": [ { "pdf_page": 114, "source_image": "source-pages/p-114.jpg", "printed_page": 99 } ], "reading_order": 629 }, { "id": "cutter-p114-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 114, "source_image": "source-pages/p-114.jpg", "printed_page": 99 } ], "asset_refs": [ "ex-147" ], "reading_order": 630 }, { "id": "cutter-p116-2c", "type": "caption", "english": "Ex. 148 · Allegretto. Chopin, Prelude.", "original": "Ex. 148 · Allegretto. Chopin, Prelude.", "sources": [ { "pdf_page": 116, "source_image": "source-pages/p-116.jpg", "printed_page": 101 } ], "reading_order": 631 }, { "id": "cutter-p116-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 116, "source_image": "source-pages/p-116.jpg", "printed_page": 101 } ], "asset_refs": [ "ex-148" ], "reading_order": 632 }, { "id": "cutter-p117-2c", "type": "caption", "english": "Ex. 149 · Andante maestoso. Wagner, Tannhäuser.", "original": "Ex. 149 · Andante maestoso. Wagner, Tannhäuser.", "sources": [ { "pdf_page": 117, "source_image": "source-pages/p-117.jpg", "printed_page": 102 } ], "reading_order": 633 }, { "id": "cutter-p117-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 117, "source_image": "source-pages/p-117.jpg", "printed_page": 102 } ], "asset_refs": [ "ex-149" ], "reading_order": 634 }, { "id": "cutter-p118-2c", "type": "caption", "english": "Ex. 150 · Adagio. Wagner, Lohengrin.", "original": "Ex. 150 · Adagio. Wagner, Lohengrin.", "sources": [ { "pdf_page": 118, "source_image": "source-pages/p-118.jpg", "printed_page": 103 } ], "reading_order": 635 }, { "id": "cutter-p118-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 118, "source_image": "source-pages/p-118.jpg", "printed_page": 103 } ], "asset_refs": [ "ex-150" ], "reading_order": 636 }, { "id": "cutter-p119-1c", "type": "caption", "english": "Ex. 151 · Molto moderato. Wagner, Tristan.", "original": "Ex. 151 · Molto moderato. Wagner, Tristan.", "sources": [ { "pdf_page": 119, "source_image": "source-pages/p-119.jpg", "printed_page": 104 } ], "reading_order": 637 }, { "id": "cutter-p119-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 119, "source_image": "source-pages/p-119.jpg", "printed_page": 104 } ], "asset_refs": [ "ex-151" ], "reading_order": 638 }, { "id": "cutter-p123-1c", "type": "caption", "english": "Ex. 152 · Très lent. D’Indy, Médée.", "original": "Ex. 152 · Très lent. D’Indy, Médée.", "sources": [ { "pdf_page": 123, "source_image": "source-pages/p-123.jpg", "printed_page": 108 } ], "reading_order": 639 }, { "id": "cutter-p123-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 123, "source_image": "source-pages/p-123.jpg", "printed_page": 108 } ], "asset_refs": [ "ex-152" ], "reading_order": 640 }, { "id": "cutter-p125-2c", "type": "caption", "english": "Ex. 153 · Appassionato. Glazounoff, Valse.", "original": "Ex. 153 · Appassionato. Glazounoff, Valse.", "sources": [ { "pdf_page": 125, "source_image": "source-pages/p-125.jpg", "printed_page": 110 } ], "reading_order": 641 }, { "id": "cutter-p125-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 125, "source_image": "source-pages/p-125.jpg", "printed_page": 110 } ], "asset_refs": [ "ex-153" ], "reading_order": 642 }, { "id": "cutter-p126-1", "type": "heading", "sources": [ { "pdf_page": 126, "source_image": "source-pages/p-126.jpg", "printed_page": 111 } ], "heading_level": 3, "english": "Section 60. Conclusion.", "original": "Section 60. Conclusion.", "reading_order": 643 }, { "id": "cutter-p126-2", "type": "paragraph", "sources": [ { "pdf_page": 126, "source_image": "source-pages/p-126.jpg", "printed_page": 111 } ], "english": "The difficulty in preparing this book was not what to use, but what not to use. To those who care to go farther and to investigate in a broad and general way, the author would recommend the best of Schubert’s Songs, Schumann’s Davidsbündler, the Kreisleriana, and the great C major Fantaisie, Chopin’s Etudes (possibly), the Brahms Variations, Wagner’s Die Walküre (put off examination of the other things until a more general view of modern harmonics has been taken), the short Piano Pieces and the Songs of the two racially different harmonists, Grieg and Tschaikowsky, the Beatitudes of César Franck, and his great Piano Pieces, returning again and again to the Beethoven of the Piano Sonatas and of the greater Variations. Verdi in his latest works—Othello, Falstaff, the Requiem—and Puccini in La Tosca, will display the new Italian school at its best, and the Extremists of the Russian piano writers—Glazounoff, for instance—will be found well worth the while. The chamber music of such radically diverse minds as Sinding the Norseman, and that man of the South, Goldmark, will, when studied and compared, give food for thought and criticism.", "original": "The difficulty in preparing this book was not what to use, but what not to use. To those who care to go farther and to investigate in a broad and general way, the author would recommend the best of Schubert’s Songs, Schumann’s Davidsbündler, the Kreisleriana, and the great C major Fantaisie, Chopin’s Etudes (possibly), the Brahms Variations, Wagner’s Die Walküre (put off examination of the other things until a more general view of modern harmonics has been taken), the short Piano Pieces and the Songs of the two racially different harmonists, Grieg and Tschaikowsky, the Beatitudes of César Franck, and his great Piano Pieces, returning again and again to the Beethoven of the Piano Sonatas and of the greater Variations. Verdi in his latest works—Othello, Falstaff, the Requiem—and Puccini in La Tosca, will display the new Italian school at its best, and the Extremists of the Russian piano writers—Glazounoff, for instance—will be found well worth the while. The chamber music of such radically diverse minds as Sinding the Norseman, and that man of the South, Goldmark, will, when studied and compared, give food for thought and criticism.", "inline": [ { "text": "The difficulty in preparing this book was not what to use, but what not to use. To those who care to go farther and to investigate in a broad and general way, the author would recommend the best of Schubert’s Songs, Schumann’s " }, { "text": "Davidsbündler", "tag": "em" }, { "text": ", the " }, { "text": "Kreisleriana", "tag": "em" }, { "text": ", and the great C major Fantaisie, Chopin’s Etudes (possibly), the Brahms Variations, Wagner’s " }, { "text": "Die Walküre", "tag": "em" }, { "text": " (put off examination of the other things until a more general view of modern harmonics has been taken), the short Piano Pieces and the Songs of the two racially different harmonists, Grieg and Tschaikowsky, the " }, { "text": "Beatitudes", "tag": "em" }, { "text": " of César Franck, and his great Piano Pieces, returning again and again to the Beethoven of the Piano Sonatas and of the greater Variations. Verdi in his latest works—" }, { "text": "Othello", "tag": "em" }, { "text": ", " }, { "text": "Falstaff", "tag": "em" }, { "text": ", the " }, { "text": "Requiem", "tag": "em" }, { "text": "—and Puccini in " }, { "text": "La Tosca", "tag": "em" }, { "text": ", will display the new Italian school at its best, and the Extremists of the Russian piano writers—Glazounoff, for instance—will be found well worth the while. The chamber music of such radically diverse minds as Sinding the Norseman, and that man of the South, Goldmark, will, when studied and compared, give food for thought and criticism." } ], "reading_order": 644 }, { "id": "cutter-p126-3", "type": "paragraph", "sources": [ { "pdf_page": 126, "source_image": "source-pages/p-126.jpg", "printed_page": 111 } ], "english": "The investigating student will also find both startling and exquisite things in the works of not a few Americans, and he may draw profit from the Bohemian Dvořák, especially from his fine Requiem and from his Piano Trios. He may also learn that the new-Germans have said little of originality in a harmonic way; that Richard Strauss, for example, although he has gone far, has in many of his works given more color and counterpoint than harmony; he may find out that to go to the apparent End of Things in Harmony—that is, what we would call the End—he must go to the out and out Cacophanists, to the Frenchmen of this day, to D’Indy, to Bruneau, for instance, and to those occasional Americans who follow the same tendency.", "original": "The investigating student will also find both startling and exquisite things in the works of not a few Americans, and he may draw profit from the Bohemian Dvořák, especially from his fine Requiem and from his Piano Trios. He may also learn that the new-Germans have said little of originality in a harmonic way; that Richard Strauss, for example, although he has gone far, has in many of his works given more color and counterpoint than harmony; he may find out that to go to the apparent End of Things in Harmony—that is, what we would call the End—he must go to the out and out Cacophanists, to the Frenchmen of this day, to D’Indy, to Bruneau, for instance, and to those occasional Americans who follow the same tendency.", "inline": [ { "text": "The investigating student will also find both startling and exquisite things in the works of not a few Americans, and he may draw profit from the Bohemian Dvořák, especially from his fine " }, { "text": "Requiem", "tag": "em" }, { "text": " and from his Piano Trios. He may also learn that the new-Germans have said little of originality in a harmonic way; that Richard Strauss, for example, although he has gone far, has in many of his works given more color and counterpoint than harmony; he may find out that to go to the apparent End of Things in Harmony—that is, what we would call the End—he must go to the out and out Cacophanists, to the Frenchmen of this day, to D’Indy, to Bruneau, for instance, and to those occasional Americans who follow the same tendency." } ], "reading_order": 645 }, { "id": "cutter-p128-1", "type": "heading", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "heading_level": 2, "english": "APPENDIX.", "original": "APPENDIX.", "reading_order": 646 }, { "id": "cutter-p128-2", "type": "heading", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "heading_level": 3, "english": "TEN FRAGMENTS OF VARIOUS NATURES, CAREFULLY ANALYZED AND DISCUSSED.", "original": "TEN FRAGMENTS OF VARIOUS NATURES, CAREFULLY ANALYZED AND DISCUSSED.", "reading_order": 647 }, { "id": "cutter-p128-3c", "type": "caption", "english": "Fragment 1 · Lento espressivo. Schumann, Op. 68.", "original": "Fragment 1 · Lento espressivo. Schumann, Op. 68.", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "reading_order": 648 }, { "id": "cutter-p128-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "asset_refs": [ "app-001" ], "reading_order": 649 }, { "id": "cutter-p128-4", "type": "paragraph", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "english": "A. Principle No. 8: the impression is that of a change of key followed by a deceptive resolution.", "original": "A. Principle No. 8: the impression is that of a change of key followed by a deceptive resolution.", "inline": [ { "text": "A.", "tag": "strong" }, { "text": " Principle No. 8: the impression is that of a change of key followed by a deceptive resolution." } ], "reading_order": 650 }, { "id": "cutter-p128-6", "type": "paragraph", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "english": "B. Too short for a modulation.", "original": "B. Too short for a modulation.", "inline": [ { "text": "B.", "tag": "strong" }, { "text": " Too short for a modulation." } ], "reading_order": 651 }, { "id": "cutter-p128-7", "type": "paragraph", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "english": "C. Some would call this A minor.", "original": "C. Some would call this A minor.", "inline": [ { "text": "C.", "tag": "strong" }, { "text": " Some would call this A minor." } ], "reading_order": 652 }, { "id": "cutter-p128-8", "type": "paragraph", "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" } ], "english": "D. “The identity of a chord depends on its resolution;” Principle No. 3. Apply also Principle No. 5.", "original": "D. “The identity of a chord depends on its resolution;” Principle No. 3. Apply also Principle No. 5.", "inline": [ { "text": "D.", "tag": "strong" }, { "text": " “The identity of a chord depends on its resolution;” Principle No. 3. Apply also Principle No. 5." } ], "reading_order": 653 }, { "id": "cutter-p129-2", "type": "paragraph", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_page": 114 } ], "english": "E. See Principle No. 12.", "original": "E. See Principle No. 12.", "inline": [ { "text": "E.", "tag": "strong" }, { "text": " See Principle No. 12." } ], "reading_order": 654 }, { "id": "cutter-p129-4", "type": "paragraph", "sources": [ { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_page": 114 } ], "english": "F. Unmistakably I6/4 in C: especially as it is preceded by an altered ii6/5. The preceding measure may be called C major, for the impression of the F chord is that of unrest, which is never the impression of a tonic. Still on account of the duration of the apparent V7, some analyze this measure as: F, V6/5, I. We regard it as but a step in the movement toward the I6/4 at letter F.", "original": "F. Unmistakably I6/4 in C: especially as it is preceded by an altered ii6/5. The preceding measure may be called C major, for the impression of the F chord is that of unrest, which is never the impression of a tonic. Still on account of the duration of the apparent V7, some analyze this measure as: F, V6/5, I. We regard it as but a step in the movement toward the I6/4 at letter F.", "inline": [ { "text": "F.", "tag": "strong" }, { "text": " Unmistakably I6/4 in C: especially as it is preceded by an altered ii6/5. The preceding measure may be called C major, for the impression of the F chord is that of unrest, which is never the impression of a tonic. Still on account of the duration of the apparent V7, some analyze this measure as: F, V6/5, I. We regard it as but a step in the movement toward the I6/4 at letter F." } ], "reading_order": 655 }, { "id": "cutter-p130-2", "type": "paragraph", "sources": [ { "pdf_page": 130, "source_image": "source-pages/p-130.jpg", "printed_page": 115 } ], "english": "G. The old-fashioned marking would read: d V7, G V7; and the G♯ of the preceding measure would probably be called a passing tone. The impressions are certainly those of dominants, but whether apparent or real, the listener must decide. We call them apparent dominants, and stay in C.", "original": "G. The old-fashioned marking would read: d V7, G V7; and the G♯ of the preceding measure would probably be called a passing tone. The impressions are certainly those of dominants, but whether apparent or real, the listener must decide. We call them apparent dominants, and stay in C.", "inline": [ { "text": "G.", "tag": "strong" }, { "text": " The old-fashioned marking would read: d V7, G V7; and the G♯ of the preceding measure would probably be called a passing tone. The impressions are certainly those of dominants, but whether " }, { "text": "apparent", "tag": "em" }, { "text": " or " }, { "text": "real", "tag": "em" }, { "text": ", the listener must decide. We call them apparent dominants, and stay in C." } ], "reading_order": 656 }, { "id": "cutter-p130-3c", "type": "caption", "english": "Fragment 2 · Allegro brillante. Verdi, Falstaff.", "original": "Fragment 2 · Allegro brillante. Verdi, Falstaff.", "sources": [ { "pdf_page": 130, "source_image": "source-pages/p-130.jpg", "printed_page": 115 } ], "reading_order": 657 }, { "id": "cutter-p130-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 130, "source_image": "source-pages/p-130.jpg", "printed_page": 115 } ], "asset_refs": [ "app-002" ], "reading_order": 658 }, { "id": "cutter-p131-2c", "type": "caption", "english": "Fragment 3 · Allegro con brio. Mendelssohn, Fugue.", "original": "Fragment 3 · Allegro con brio. Mendelssohn, Fugue.", "sources": [ { "pdf_page": 131, "source_image": "source-pages/p-131.jpg", "printed_page": 116 } ], "reading_order": 659 }, { "id": "cutter-p131-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 131, "source_image": "source-pages/p-131.jpg", "printed_page": 116 } ], "asset_refs": [ "app-003" ], "reading_order": 660 }, { "id": "cutter-p132-2c", "type": "caption", "english": "Fragment 4 · Rapido. Prestissimo. Liszt, Rhapsody.", "original": "Fragment 4 · Rapido. Prestissimo. Liszt, Rhapsody.", "sources": [ { "pdf_page": 132, "source_image": "source-pages/p-132.jpg", "printed_page": 117 } ], "reading_order": 661 }, { "id": "cutter-p132-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 132, "source_image": "source-pages/p-132.jpg", "printed_page": 117 } ], "asset_refs": [ "app-004" ], "reading_order": 662 }, { "id": "cutter-p133-2", "type": "paragraph", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_page": 118 } ], "english": "This characteristic passage is built wholly on one chord, the two upper members in each quarter count being preceded by appoggiaturas. It is hardly worth while to figure each inversion.", "original": "This characteristic passage is built wholly on one chord, the two upper members in each quarter count being preceded by appoggiaturas. It is hardly worth while to figure each inversion.", "reading_order": 663 }, { "id": "cutter-p133-3c", "type": "caption", "english": "Fragment 5 · Molto agitato. Chopin, Prelude No. 8.", "original": "Fragment 5 · Molto agitato. Chopin, Prelude No. 8.", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_page": 118 } ], "reading_order": 664 }, { "id": "cutter-p133-3", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_page": 118 } ], "asset_refs": [ "app-005" ], "reading_order": 665 }, { "id": "cutter-p133-4", "type": "paragraph", "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_page": 118 } ], "english": "A. The root progression, ii7 V7. is stronger, hence better, than vii°7° V7; furthermore the context—see measure 3—shows unmistakably that the harmonic motive is ii°4/3 V7, and nothing else.", "original": "A. The root progression, ii7 V7. is stronger, hence better, than vii°7° V7; furthermore the context—see measure 3—shows unmistakably that the harmonic motive is ii°4/3 V7, and nothing else.", "inline": [ { "text": "A.", "tag": "strong" }, { "text": " The root progression, ii7 V7. is stronger, hence better, than vii°7° V7; furthermore the context—see measure 3—shows unmistakably that the harmonic motive is ii°4/3 V7, and nothing else." } ], "reading_order": 666 }, { "id": "cutter-p134-2", "type": "paragraph", "sources": [ { "pdf_page": 134, "source_image": "source-pages/p-134.jpg", "printed_page": 119 } ], "english": "B. Enharmonic notation of e♯ g𝄪 b♯ d♯, the third, fifth, and seventh of which are passing notes moving down to g♯, b, d, with e♯, forming a chord of the reigning key. The notation in flats simplifies possibly for the eye, but is illogical; for no one hearing this piece and knowing it to be in sharps would ever imagine, naturally, one single chord in flats.", "original": "B. Enharmonic notation of e♯ g𝄪 b♯ d♯, the third, fifth, and seventh of which are passing notes moving down to g♯, b, d, with e♯, forming a chord of the reigning key. The notation in flats simplifies possibly for the eye, but is illogical; for no one hearing this piece and knowing it to be in sharps would ever imagine, naturally, one single chord in flats.", "inline": [ { "text": "B.", "tag": "strong" }, { "text": " Enharmonic notation of " }, { "text": "e♯ g𝄪 b♯ d♯", "tag": "em" }, { "text": ", the third, fifth, and seventh of which are passing notes moving down to " }, { "text": "g♯", "tag": "em" }, { "text": ", " }, { "text": "b", "tag": "em" }, { "text": ", " }, { "text": "d", "tag": "em" }, { "text": ", with " }, { "text": "e♯", "tag": "em" }, { "text": ", forming a chord of the reigning key. The notation in flats simplifies possibly for the eye, but is illogical; for no one hearing this piece and knowing it to be in sharps would ever imagine, naturally, one single chord in flats." } ], "reading_order": 667 }, { "id": "cutter-p134-4", "type": "paragraph", "sources": [ { "pdf_page": 134, "source_image": "source-pages/p-134.jpg", "printed_page": 119 }, { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 } ], "english": "C. To call this chord, according to its appearance, the vii°7° of A♭, major or minor, is to break the sequence, which is unwarrantable. This sequence moves down regularly by minor seconds, and at its end is varied and made more interesting by the suspension in the bass; this prolongation of the chord also forms a quasi halting place and makes more impressive the change at", "original": "C. To call this chord, according to its appearance, the vii°7° of A♭, major or minor, is to break the sequence, which is unwarrantable. This sequence moves down regularly by minor seconds, and at its end is varied and made more interesting by the suspension in the bass; this prolongation of the chord also forms a quasi halting place and makes more impressive the change at", "inline": [ { "text": "C.", "tag": "strong" }, { "text": " To call this chord, according to its appearance, the vii°7° of A♭, major or minor, is to break the sequence, which is unwarrantable. This sequence moves down regularly by minor seconds, and at its end is varied and made more interesting by the suspension in the bass; this prolongation of the chord also forms a " }, { "text": "quasi", "tag": "em" }, { "text": " halting place and makes more impressive the change at" } ], "reading_order": 668 }, { "id": "cutter-p135-2", "type": "paragraph", "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 } ], "english": "D. A dominant seventh, by enharmonic transformation of its seventh, or of its seventh and root, may become an 6+/5 or a 6+/4++/3 modulating in the first case to the minor tonic a minor second lower, in the second case to a major tonic a minor second lower; thus: from C♭ to B♭, minor or major. The enharmonics in this present case are d♭ f♭, for c♯ e. This harmonic subtlety was very dear to Chopin. See Section 43.", "original": "D. A dominant seventh, by enharmonic transformation of its seventh, or of its seventh and root, may become an 6+/5 or a 6+/4++/3 modulating in the first case to the minor tonic a minor second lower, in the second case to a major tonic a minor second lower; thus: from C♭ to B♭, minor or major. The enharmonics in this present case are d♭ f♭, for c♯ e. This harmonic subtlety was very dear to Chopin. See Section 43.", "inline": [ { "text": "D.", "tag": "strong" }, { "text": " A dominant seventh, by enharmonic transformation of its seventh, or of its seventh and root, may become an 6+/5 or a 6+/4++/3 modulating in the first case to the " }, { "text": "minor", "tag": "em" }, { "text": " tonic a minor second lower, in the second case to a " }, { "text": "major", "tag": "em" }, { "text": " tonic a minor second lower; thus: from " }, { "text": "C♭", "tag": "em" }, { "text": " to " }, { "text": "B♭", "tag": "em" }, { "text": ", minor or major. The enharmonics in this present case are " }, { "text": "d♭ f♭", "tag": "em" }, { "text": ", for " }, { "text": "c♯ e", "tag": "em" }, { "text": ". This harmonic subtlety was very dear to Chopin. See Section 43." } ], "reading_order": 669 }, { "id": "cutter-p135-3", "type": "image", "english": "", "original": "", "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 } ], "asset_refs": [ "fig-135-1" ], "reading_order": 670 }, { "id": "cutter-p135-5", "type": "paragraph", "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 } ], "english": "E. The soprano presents a subtlety. B𝄫 sounds A. The main notes of the soprano, then, are B♭ A A♭ G, and the B𝄫 is used to present to the eye a figure like that of the first count.", "original": "E. The soprano presents a subtlety. B𝄫 sounds A. The main notes of the soprano, then, are B♭ A A♭ G, and the B𝄫 is used to present to the eye a figure like that of the first count.", "inline": [ { "text": "E.", "tag": "strong" }, { "text": " The soprano presents a subtlety. " }, { "text": "B𝄫", "tag": "em" }, { "text": " sounds " }, { "text": "A", "tag": "em" }, { "text": ". The main notes of the soprano, then, are " }, { "text": "B♭ A A♭ G", "tag": "em" }, { "text": ", and the " }, { "text": "B𝄫", "tag": "em" }, { "text": " is used to present to the eye a figure like that of the first count." } ], "reading_order": 671 }, { "id": "cutter-p136-1c", "type": "caption", "english": "Fragment 6 · Allegro maestoso. Chopin, Polonaise.", "original": "Fragment 6 · Allegro maestoso. Chopin, Polonaise.", "sources": [ { "pdf_page": 136, "source_image": "source-pages/p-136.jpg", "printed_page": 121 } ], "reading_order": 672 }, { "id": "cutter-p136-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 136, "source_image": "source-pages/p-136.jpg", "printed_page": 121 } ], "asset_refs": [ "app-006" ], "reading_order": 673 }, { "id": "cutter-p137-2c", "type": "caption", "english": "Fragment 7 · Andante. Liszt, Fugue on the name of Bach.", "original": "Fragment 7 · Andante. Liszt, Fugue on the name of Bach.", "sources": [ { "pdf_page": 137, "source_image": "source-pages/p-137.jpg", "printed_page": 122 } ], "reading_order": 674 }, { "id": "cutter-p137-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 137, "source_image": "source-pages/p-137.jpg", "printed_page": 122 } ], "asset_refs": [ "app-007" ], "reading_order": 675 }, { "id": "cutter-p138-2", "type": "paragraph", "sources": [ { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 123 } ], "english": "It is impossible to hold any key for any length of time in this example. The impressions of key change constantly, and the figuring represents what the ear hears, and any attempt to use chromatically altered chords instead of shifting tonalities leads one into illogical markings, as the writer found on experimenting. A reduction will soften certain harsh measures; Nos. 3, 4, 5, and 6, on this page, become not only clear, but fairly bland, when the syncopations are omitted.", "original": "It is impossible to hold any key for any length of time in this example. The impressions of key change constantly, and the figuring represents what the ear hears, and any attempt to use chromatically altered chords instead of shifting tonalities leads one into illogical markings, as the writer found on experimenting. A reduction will soften certain harsh measures; Nos. 3, 4, 5, and 6, on this page, become not only clear, but fairly bland, when the syncopations are omitted.", "reading_order": 676 }, { "id": "cutter-p140-1c", "type": "caption", "english": "Fragment 8 · Allegro. Bach-Tausig.", "original": "Fragment 8 · Allegro. Bach-Tausig.", "sources": [ { "pdf_page": 140, "source_image": "source-pages/p-140.jpg", "printed_page": 125 } ], "reading_order": 677 }, { "id": "cutter-p140-1", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 140, "source_image": "source-pages/p-140.jpg", "printed_page": 125 } ], "asset_refs": [ "app-008" ], "reading_order": 678 }, { "id": "cutter-p140-2", "type": "paragraph", "sources": [ { "pdf_page": 140, "source_image": "source-pages/p-140.jpg", "printed_page": 125 } ], "english": "A. Passages composed of rapid and constant alternations of tonic and dominant, as is this, may best be analyzed by judging of the general impression rather than by naming each chord, a procedure which does not agree with what one hears.", "original": "A. Passages composed of rapid and constant alternations of tonic and dominant, as is this, may best be analyzed by judging of the general impression rather than by naming each chord, a procedure which does not agree with what one hears.", "inline": [ { "text": "A.", "tag": "strong" }, { "text": " Passages composed of rapid and constant alternations of tonic and dominant, as is this, may best be analyzed by judging of the general impression rather than by naming each chord, a procedure which does not agree with what one hears." } ], "reading_order": 679 }, { "id": "cutter-p141-2", "type": "paragraph", "sources": [ { "pdf_page": 141, "source_image": "source-pages/p-141.jpg", "printed_page": 126 } ], "english": "B. This whole sequential strain passes so quickly by the ear and has in it so much of the F major character—that is, so many B flats and E’s—that an Extremist would call it throughout, F major. We prefer to regard it as modulatory in nature, as it seems to move up by hitches, and because of the “sham keys” which seem to accentuate the idea of key change, being used for the sake of variety (see Section 50, The Sequence). It is a place very difficult to mark, however one may regard it, and we have chosen it because typical of countless Bach passages. The first sixteenth note on each eighth is a chord; the other sixteenth notes are accidental tone formations, containing Free Tones, Free Anticipations, etc. It will be realized by any one who studies these measures attentively that here, in “old Bach,” are distortions of the key nearly if not quite as great as those practised to-day by the Out-and-Outers.", "original": "B. This whole sequential strain passes so quickly by the ear and has in it so much of the F major character—that is, so many B flats and E’s—that an Extremist would call it throughout, F major. We prefer to regard it as modulatory in nature, as it seems to move up by hitches, and because of the “sham keys” which seem to accentuate the idea of key change, being used for the sake of variety (see Section 50, The Sequence). It is a place very difficult to mark, however one may regard it, and we have chosen it because typical of countless Bach passages. The first sixteenth note on each eighth is a chord; the other sixteenth notes are accidental tone formations, containing Free Tones, Free Anticipations, etc. It will be realized by any one who studies these measures attentively that here, in “old Bach,” are distortions of the key nearly if not quite as great as those practised to-day by the Out-and-Outers.", "inline": [ { "text": "B.", "tag": "strong" }, { "text": " This whole sequential strain passes so quickly by the ear and has in it so much of the F major character—that is, so many B flats and E’s—that an Extremist would call it throughout, F major. We prefer to regard it as modulatory in nature, as it seems to move up by hitches, and because of the “sham keys” which seem to accentuate the idea of key change, being used for the sake of variety (see Section 50, The Sequence). It is a place very difficult to mark, however one may regard it, and we have chosen it because typical of countless Bach passages. The first sixteenth note on each eighth is a chord; the other sixteenth notes are accidental tone formations, containing Free Tones, Free Anticipations, etc. It will be realized by any one who studies these measures attentively that here, in “old Bach,” are distortions of the key nearly if not quite as great as those practised to-day by the Out-and-Outers." } ], "reading_order": 680 }, { "id": "cutter-p143-2c", "type": "caption", "english": "Fragment 9 · Moderato. Wagner, Parsival.", "original": "Fragment 9 · Moderato. Wagner, Parsival.", "sources": [ { "pdf_page": 143, "source_image": "source-pages/p-143.jpg", "printed_page": 128 } ], "reading_order": 681 }, { "id": "cutter-p143-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 143, "source_image": "source-pages/p-143.jpg", "printed_page": 128 } ], "asset_refs": [ "app-009" ], "reading_order": 682 }, { "id": "cutter-p144-2c", "type": "caption", "english": "Fragment 10 · Lento e maestoso. Wagner, Parsival.", "original": "Fragment 10 · Lento e maestoso. Wagner, Parsival.", "sources": [ { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129 } ], "reading_order": 683 }, { "id": "cutter-p144-2", "type": "music", "english": "", "original": "", "sources": [ { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129 } ], "asset_refs": [ "app-010" ], "reading_order": 684 }, { "id": "cutter-p145-2", "type": "paragraph", "sources": [ { "pdf_page": 145, "source_image": "source-pages/p-145.jpg", "printed_page": 130 } ], "english": "A. A characteristic Wagnerian rising sequence, defined by the essential chords on the second and fourth beats in measures 5, 6, 7. The tone combinations on the first and third beats of these measures offer difficulty, and only recourse to enharmonics will solve the complicated problem. The chord at B is, in reality, d♯ f♯ a c; and at C, e♯ g♯ b♯ d. This interpretation gives two chords in a key—see Principle No. 5—and explains the inconsistent and mind-disturbing notation of a passage which to the ear is very consistent, coherent, and agreeable. Numberless cases of this sort occur in modern music which may be explained only in the above way. The composer hears the chord mentally and employs any notation which seems to him good; to the analyst falls the task of finding the needful enharmonics and of making them clear to his mind.", "original": "A. A characteristic Wagnerian rising sequence, defined by the essential chords on the second and fourth beats in measures 5, 6, 7. The tone combinations on the first and third beats of these measures offer difficulty, and only recourse to enharmonics will solve the complicated problem. The chord at B is, in reality, d♯ f♯ a c; and at C, e♯ g♯ b♯ d. This interpretation gives two chords in a key—see Principle No. 5—and explains the inconsistent and mind-disturbing notation of a passage which to the ear is very consistent, coherent, and agreeable. Numberless cases of this sort occur in modern music which may be explained only in the above way. The composer hears the chord mentally and employs any notation which seems to him good; to the analyst falls the task of finding the needful enharmonics and of making them clear to his mind.", "inline": [ { "text": "A.", "tag": "strong" }, { "text": " A characteristic Wagnerian rising sequence, defined by the essential chords on the second and fourth beats in measures 5, 6, 7. The tone combinations on the first and third beats of these measures offer difficulty, and only recourse to enharmonics will solve the complicated problem. The chord at " }, { "text": "B", "tag": "strong" }, { "text": " is, in reality, " }, { "text": "d♯ f♯ a c", "tag": "em" }, { "text": "; and at " }, { "text": "C", "tag": "strong" }, { "text": ", " }, { "text": "e♯ g♯ b♯ d", "tag": "em" }, { "text": ". This interpretation gives two chords in a key—see Principle No. 5—and explains the inconsistent and mind-disturbing notation of a passage which to the ear is very consistent, coherent, and agreeable. Numberless cases of this sort occur in modern music which may be explained only in the above way. The composer hears the chord mentally and employs any notation which seems to him good; to the analyst falls the task of finding the needful enharmonics and of making them clear to his mind." } ], "reading_order": 685 }, { "id": "cutter-p149-1", "type": "paragraph", "sources": [ { "pdf_page": 149, "source_image": "source-pages/p-149.jpg", "printed_label": "PDF 149" } ], "english": "UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles", "original": "UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles", "reading_order": 686 }, { "id": "cutter-p149-2", "type": "paragraph", "sources": [ { "pdf_page": 149, "source_image": "source-pages/p-149.jpg", "printed_label": "PDF 149" } ], "english": "This book is DUE on the last date stamped below.", "original": "This book is DUE on the last date stamped below.", "reading_order": 687 } ], "assets": [ { "id": "fig-019-1", "kind": "image", "path": "assets/reflow/fig-019-1.png", "dimensions_pixels": [ 1600, 466 ], "description": "The printed figurings and chord signs of this paragraph. Figurings: 6; 6 over 4; 6 over 5; 4 over 3; 4 over 2. Lettered forms: I with subscript a, I with subscript b, I with subscript c; small ii with superscript ° and 7 above it and subscript a (likewise with b and c); IV with + above and subscript b; small iii with 7 above and subscript c. Diminished seventh: small vii with ° above and 7° below; vii with ° above and 6 over 5 below; vii with ° above and 4 over 3 below; vii with ° above and 4 over 2 below; or vii with superscript ° and 7°, subscript a (likewise b, c, d).", "source_label": "Example · page 4", "source_pdf": { "path": "source/pdf/book.pdf", "page": 19 }, "continuations": [], "pdf_page": 19, "sources": [ { "pdf_page": 19, "source_image": "source-pages/p-019.jpg", "printed_page": 4 } ], "source_image": "source-pages/p-019.jpg", "printed_page": 4, "music_transcription_status": "non-music", "alt": "The printed figurings and chord signs of this paragraph. Figurings: 6; 6 over 4; 6 over 5; 4 over 3; 4 over 2. Lettered forms: I with subscript a, I with subscript b, I with subscript c; small ii with superscript ° and 7 above it and subscript a (likewise with b and c); IV with + above and subscript b; small iii with 7 above and subscript c. Diminished seventh: small vii with ° above and 7° below; vii with ° above and 6 over 5 below; vii with ° above and 4 over 3 below; vii with ° above and 4 over 2 below; or vii with superscript ° and 7°, subscript a (likewise b, c, d).", "sha256": "133d417aebeacb6640bd195b739b753b5bf9f8bd1b9b32993aee8686a8a77d10" }, { "id": "ex-001", "kind": "music", "path": "assets/reflow/ex-001.png", "dimensions_pixels": [ 1600, 557 ], "description": "Ex. 1 · Exercise 1. Marked Example.", "source_label": "Example 1 · page 5", "source_pdf": { "path": "source/pdf/book.pdf", "page": 20 }, "continuations": [], "pdf_page": 20, "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "source_image": "source-pages/p-020.jpg", "printed_page": 5, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-001.musicxml", "label": "Ex. 1 · Exercise 1. Marked Example.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "5d78601e15f77be7a112eaacbd8bf09b88b4c1af5c4364c0cd1823104aaa3f57", "sourceVerifiedSha256": "5d78601e15f77be7a112eaacbd8bf09b88b4c1af5c4364c0cd1823104aaa3f57", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 2, beat 4-and, analysis: faint mark above V/2 might be print damage or an additional figure. Chosen V/2; no legible upper figure encoded. Checked zoom-ex-001.png and detail-1-bass.png (2x)." ] } ], "sha256": "81a6c05685523b5923c08f596ed7c5db601dd38eb4f341a7d23584a98d9c2518" }, { "id": "ex-002", "kind": "music", "path": "assets/reflow/ex-002.png", "dimensions_pixels": [ 1600, 1008 ], "description": "Ex. 2", "source_label": "Example 2 · page 5", "source_pdf": { "path": "source/pdf/book.pdf", "page": 20 }, "continuations": [], "pdf_page": 20, "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "source_image": "source-pages/p-020.jpg", "printed_page": 5, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-002.musicxml", "label": "Ex. 2", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "95d82cd35a5e256cd804bd68cf3aa4684f450124a01676abe36608fb653a0073", "sourceVerifiedSha256": "95d82cd35a5e256cd804bd68cf3aa4684f450124a01676abe36608fb653a0073", "printed_systems": [ { "bars": 3 }, { "bars": 3 } ] } ], "sha256": "33b8f2fd196fe8353518e76a12ef7f0438e8672ec09ed99e32d301e502144758" }, { "id": "ex-003", "kind": "music", "path": "assets/reflow/ex-003.png", "dimensions_pixels": [ 1600, 465 ], "description": "Ex. 3", "source_label": "Example 3 · page 5", "source_pdf": { "path": "source/pdf/book.pdf", "page": 20 }, "continuations": [], "pdf_page": 20, "sources": [ { "pdf_page": 20, "source_image": "source-pages/p-020.jpg", "printed_page": 5 } ], "source_image": "source-pages/p-020.jpg", "printed_page": 5, "music_transcription_status": "two-reader-confirmed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-003.musicxml", "label": "Ex. 3", "playbackAvailable": true, "transcriptionStatus": "two-reader-confirmed", "sha256": "02fa28f4b4460c7a38740b4b906e5ca0c504922dc47083c424353fab99a7b5c2", "sourceVerifiedSha256": "02fa28f4b4460c7a38740b4b906e5ca0c504922dc47083c424353fab99a7b5c2", "printed_systems": [ { "bars": 5 } ] } ], "sha256": "016b3c12dc9f2a4fc919691f952050461d4e1b3e0ad7833773879fc5cf54bc68" }, { "id": "ex-004", "kind": "music", "path": "assets/reflow/ex-004.png", "dimensions_pixels": [ 1600, 457 ], "description": "Ex. 4", "source_label": "Example 4 · page 6", "source_pdf": { "path": "source/pdf/book.pdf", "page": 21 }, "continuations": [], "pdf_page": 21, "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "source_image": "source-pages/p-021.jpg", "printed_page": 6, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-004.musicxml", "label": "Ex. 4", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "77c297e92d67c2b6228abda96816b408e1ec49f61c0ebf5aac401de33a3e4b1b", "sourceVerifiedSha256": "77c297e92d67c2b6228abda96816b408e1ec49f61c0ebf5aac401de33a3e4b1b", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 3, beat 3, tenor B-flat3: irregular white opening in otherwise thick notehead could be wear in a quarter or an open half. Chosen quarter from the thick outer head matching the adjacent filled B-flat head; following A-flat3 begins at onset 3. Ambiguous; checked RV-002/ex-004-bar3-bass-3x.png." ] } ], "sha256": "58a661ef8ee5e7340a283b3358b6683424a81f21ff0dc20641b3c5d829c98316" }, { "id": "ex-005", "kind": "music", "path": "assets/reflow/ex-005.png", "dimensions_pixels": [ 1600, 570 ], "description": "Ex. 5", "source_label": "Example 5 · page 6", "source_pdf": { "path": "source/pdf/book.pdf", "page": 21 }, "continuations": [], "pdf_page": 21, "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "source_image": "source-pages/p-021.jpg", "printed_page": 6, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-005.musicxml", "label": "Ex. 5", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8e60ddaeee47070c906e1cfdc1791807f84a96bdf663764685558c87716c00f1", "sourceVerifiedSha256": "8e60ddaeee47070c906e1cfdc1791807f84a96bdf663764685558c87716c00f1", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 4, beat 3, bass E3: damaged filled head resembles a small w; chosen quarter E3 from staff position and visible stem. Checked zoom-ex-005.png and detail-5-bass.png (2x)." ] } ], "sha256": "1218cfa80b9081ad5acbd19ba4e9b2ca769c28e705efb46a46472670462e3f8b" }, { "id": "ex-006", "kind": "music", "path": "assets/reflow/ex-006.png", "dimensions_pixels": [ 1600, 465 ], "description": "Ex. 6", "source_label": "Example 6 · page 6", "source_pdf": { "path": "source/pdf/book.pdf", "page": 21 }, "continuations": [], "pdf_page": 21, "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "source_image": "source-pages/p-021.jpg", "printed_page": 6, "music_transcription_status": "two-reader-confirmed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-006.musicxml", "label": "Ex. 6", "playbackAvailable": true, "transcriptionStatus": "two-reader-confirmed", "sha256": "4d61ac7061a8f8e8d8b45d6b3c198ae99992b3b083e110106648e6c3ba41f470", "sourceVerifiedSha256": "4d61ac7061a8f8e8d8b45d6b3c198ae99992b3b083e110106648e6c3ba41f470", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 4, after third eighth: printed two-hook zigzag rest read as quarter rather than eighth (zoom-rest-6.png, 3×). This makes both staves 5/8 in printed 4/8; preserved without padding or shortening." ] } ], "sha256": "adb282695b3ba7fea8c5399b21ff2ad79494cb0e3563717293a64f97ea49dc87" }, { "id": "ex-007", "kind": "music", "path": "assets/reflow/ex-007.png", "dimensions_pixels": [ 1600, 470 ], "description": "Ex. 7", "source_label": "Example 7 · page 6", "source_pdf": { "path": "source/pdf/book.pdf", "page": 21 }, "continuations": [], "pdf_page": 21, "sources": [ { "pdf_page": 21, "source_image": "source-pages/p-021.jpg", "printed_page": 6 } ], "source_image": "source-pages/p-021.jpg", "printed_page": 6, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-007.musicxml", "label": "Ex. 7", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "ce12456a00f72a7e50307f28a1d4fb6b3ba0519b21fbc30a531e531171da2281", "sourceVerifiedSha256": "ce12456a00f72a7e50307f28a1d4fb6b3ba0519b21fbc30a531e531171da2281", "printed_systems": [ { "bars": 9 } ] } ], "sha256": "c2c9339955d3399583830f23bae4d94204e47200c376b931b0aa40f0206d9835" }, { "id": "ex-008", "kind": "music", "path": "assets/reflow/ex-008.png", "dimensions_pixels": [ 1600, 473 ], "description": "Ex. 8", "source_label": "Example 8 · page 7", "source_pdf": { "path": "source/pdf/book.pdf", "page": 22 }, "continuations": [], "pdf_page": 22, "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "source_image": "source-pages/p-022.jpg", "printed_page": 7, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-008.musicxml", "label": "Ex. 8", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "ebe5800ba1f8b4f2ae525dd8315731317a04d91b59a348e29ebf22ad4eb1d34b", "sourceVerifiedSha256": "ebe5800ba1f8b4f2ae525dd8315731317a04d91b59a348e29ebf22ad4eb1d34b", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 2 beat 4: shared-stem chords split into opposing stems on both staves; encoded separate voices for F4 over A3–E4 and F3 over E3–C3 (zoom-ex-008.png, 2×)." ] } ], "sha256": "19d56d2231163ded12e903deff2abe6f8f3380eb486ef0506f9f21671749b727" }, { "id": "ex-009", "kind": "music", "path": "assets/reflow/ex-009.png", "dimensions_pixels": [ 1600, 917 ], "description": "Ex. 9", "source_label": "Example 9 · page 7", "source_pdf": { "path": "source/pdf/book.pdf", "page": 22 }, "continuations": [], "pdf_page": 22, "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "source_image": "source-pages/p-022.jpg", "printed_page": 7, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-009.musicxml", "label": "Ex. 9", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8bf39f97297edcb43d8fbd1073116dd0835aa4c10fcc334d02708afaf1eeeb67", "sourceVerifiedSha256": "8bf39f97297edcb43d8fbd1073116dd0835aa4c10fcc334d02708afaf1eeeb67", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bar 8, after second eighth: printed two-hook zigzag rest read as quarter rather than eighth (zoom-rest-9.png, 3×). This makes both staves 4/8 in printed 3/8; preserved without shortening." ] } ], "sha256": "27bc176588f7d167111f5e12fbee4abeff422867cc364650a057f97d35becef1" }, { "id": "ex-010", "kind": "music", "path": "assets/reflow/ex-010.png", "dimensions_pixels": [ 1600, 436 ], "description": "Ex. 10", "source_label": "Example 10 · page 7", "source_pdf": { "path": "source/pdf/book.pdf", "page": 22 }, "continuations": [], "pdf_page": 22, "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 } ], "source_image": "source-pages/p-022.jpg", "printed_page": 7, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-010.musicxml", "label": "Ex. 10", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "b117eaaf0891e1617919771d8870e88469e7e9160a62bbe0b5897742bfed4d60", "sourceVerifiedSha256": "b117eaaf0891e1617919771d8870e88469e7e9160a62bbe0b5897742bfed4d60", "printed_systems": [ { "bars": 4 } ] } ], "sha256": "5039933a984664330afaa13b9de5698c08a7a90f79b1a2594579127efc6f0a2f" }, { "id": "ex-011", "kind": "music", "path": "assets/reflow/ex-011.png", "dimensions_pixels": [ 1600, 435 ], "description": "Ex. 11", "source_label": "Example 11 · page 7", "source_pdf": { "path": "source/pdf/book.pdf", "page": 22 }, "continuations": [ { "path": "assets/reflow/ex-011-p2.png", "dimensions_pixels": [ 1600, 412 ] } ], "pdf_page": 22, "sources": [ { "pdf_page": 22, "source_image": "source-pages/p-022.jpg", "printed_page": 7 }, { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_page": 8 } ], "source_image": "source-pages/p-022.jpg", "printed_page": 7, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-011.musicxml", "label": "Ex. 11", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "925c21188c52bf2cb68bcb2b6866d593c1429736493cc214cc27e7a5bbedfc42", "sourceVerifiedSha256": "925c21188c52bf2cb68bcb2b6866d593c1429736493cc214cc27e7a5bbedfc42", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bars 1–4: severely faded stems and ledger lines; 3× ex-011-detail-0.png and 2× ex-011-zoom.png and ex-011-treble.png used. Four independent lines retained, including shared-stem attacks; bass opening reads F4 over F3, then G4 over E-sharp3 (not an octave lower).", "Bar 6, lower treble, beat 2: open C4 head with down stem reads half note, versus a possible damaged quarter; chose half as printed, followed by C4 quarter. This voice totals four quarter beats against 3/4; no padding or correction. Checked ex-011-p2-zoom.png.", "Bar 9, treble: one F4 head has both up and down stems; encoded the two voices at unison. Final bar is two beats; opening bar is one-beat pickup.", "RV-bars bar 6: Lower treble D4 quarter, C4 half, C4 quarter: four quarters in 3/4. printed irregularity: Open middle head confirmed; retain overfull voice. ex-011-p2-detail-1-3x.png." ] } ], "sha256": "a6c0e0ca15e4bb22be43d0eb279952e23c23791e9c911c5116b03cc17c6bc218" }, { "id": "ex-012", "kind": "music", "path": "assets/reflow/ex-012.png", "dimensions_pixels": [ 1600, 1376 ], "description": "Ex. 12", "source_label": "Example 12 · page 8", "source_pdf": { "path": "source/pdf/book.pdf", "page": 23 }, "continuations": [], "pdf_page": 23, "sources": [ { "pdf_page": 23, "source_image": "source-pages/p-023.jpg", "printed_page": 8 } ], "source_image": "source-pages/p-023.jpg", "printed_page": 8, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-012.musicxml", "label": "Ex. 12", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4298701b78e58083a43a7f9589e9d4d6533bb86840146d7ed16dc803176cd545", "sourceVerifiedSha256": "4298701b78e58083a43a7f9589e9d4d6533bb86840146d7ed16dc803176cd545", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 1 } ], "issues": [ "Bars 3 (b) and 5 (d) contain two quarter beats each under inherited common time; retained short illustrative variants without added rests.", "Bars 6 (e) and 7 (f): continuous runs cross between staves; encoded one voice with staff changes and no invented rests. Checked 3× ex-012-detail-480.png and ex-012-detail-940.png." ] } ], "sha256": "dacfc9a831967afc68c2d120bc2d88dad18b7389c6d3837107c26cd1749a0fe4" }, { "id": "ex-013", "kind": "music", "path": "assets/reflow/ex-013.png", "dimensions_pixels": [ 1600, 540 ], "description": "Ex. 13 · Allegro. Wagner, Tannhäuser.", "source_label": "Example 13 · page 9", "source_pdf": { "path": "source/pdf/book.pdf", "page": 24 }, "continuations": [], "pdf_page": 24, "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "source_image": "source-pages/p-024.jpg", "printed_page": 9, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-013.musicxml", "label": "Ex. 13 · Allegro. Wagner, Tannhäuser.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "e47858978c9a4b6fd87239a06112f501b746f030097ec0de327a0f8ee473c1d2", "sourceVerifiedSha256": "e47858978c9a4b6fd87239a06112f501b746f030097ec0de327a0f8ee473c1d2", "printed_systems": [ { "bars": 2 } ], "issues": [ "Both bars: unstemmed whole-note reduction chords precede the rhythmic notes horizontally. Encoded as simultaneous additional voices (treble and bass), not additional bars; checked ex-013-zoom.png.", "Treble both bars and bass bar 2: groups of three eighth notes under common time lack printed triplet numerals. Encoded 3:2 timing without added tuplet-number notation; alternatives are literal overfull bars. Choice follows the printed grouping; no pitches inferred." ] } ], "sha256": "8746a051a597eb4ba40342ff351b85973949c01432829ab02b88022e6aedfd22" }, { "id": "ex-014", "kind": "music", "path": "assets/reflow/ex-014.png", "dimensions_pixels": [ 1600, 427 ], "description": "Ex. 14 · Vivace. Beethoven, Op. 109.", "source_label": "Example 14 · page 9", "source_pdf": { "path": "source/pdf/book.pdf", "page": 24 }, "continuations": [], "pdf_page": 24, "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 } ], "source_image": "source-pages/p-024.jpg", "printed_page": 9, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-014.musicxml", "label": "Ex. 14 · Vivace. Beethoven, Op. 109.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "17b5c9a1156872d90bead4de9a1904f280d24975518ce5fc8dc3b4983abff014", "sourceVerifiedSha256": "17b5c9a1156872d90bead4de9a1904f280d24975518ce5fc8dc3b4983abff014", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bars 1–3: faint upward stems on the first head of each beamed group indicate a separate quarter-note voice sharing the sixteenth-note head. Both voices retained; checked ex-014-zoom.png. Opening and final bars each last one quarter beat." ] } ], "sha256": "35740330c12a55de80395957a97f8e199a7e1b55d5ff1b06eff5bd5e2fcc1e79" }, { "id": "ex-015", "kind": "music", "path": "assets/reflow/ex-015.png", "dimensions_pixels": [ 1600, 462 ], "description": "Ex. 15 · Allegro. Beethoven, Op. 28.", "source_label": "Example 15 · page 9", "source_pdf": { "path": "source/pdf/book.pdf", "page": 24 }, "continuations": [ { "path": "assets/reflow/ex-015-p2.png", "dimensions_pixels": [ 1600, 419 ] } ], "pdf_page": 24, "sources": [ { "pdf_page": 24, "source_image": "source-pages/p-024.jpg", "printed_page": 9 }, { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "source_image": "source-pages/p-024.jpg", "printed_page": 9, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-015.musicxml", "label": "Ex. 15 · Allegro. Beethoven, Op. 28.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8dcb336cc8536699e5806a121925aedb80a38614563a4cdb1fe972d4a87438ee", "sourceVerifiedSha256": "8dcb336cc8536699e5806a121925aedb80a38614563a4cdb1fe972d4a87438ee", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 1, opening: small dotted-quarter A4/F-sharp5 and D4 reduction notes are separate simultaneous voices, retained as cue notes. Faded stems and top-staff low ledger notes checked in 3× ex-015-detail-0.png; lowest treble note reads F-sharp3, not G3.", "Bar 4: six treble sixteenths followed by quarter-note dyad; bass three eighth-note dyads followed by quarter-note dyad. Both total five eighths under 6/8; retained short ending without added rest.", "RV-004 bar 1 opening: worn stems make the small dotted notes ambiguous; 3x ex-015-opening.png supports A4/F#5 above and D4 below. Retain as simultaneous dotted-quarter cue voices, rather than omit as stray marks." ] } ], "sha256": "79c6baf2491f9816cfd231bd4c17772aca231ce9eaad3b6b77131a8e9d305afd" }, { "id": "ex-016", "kind": "music", "path": "assets/reflow/ex-016.png", "dimensions_pixels": [ 1600, 901 ], "description": "Ex. 16 · Presto agitato. Beethoven, Op. 27.", "source_label": "Example 16 · page 10", "source_pdf": { "path": "source/pdf/book.pdf", "page": 25 }, "continuations": [], "pdf_page": 25, "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "source_image": "source-pages/p-025.jpg", "printed_page": 10, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-016.musicxml", "label": "Ex. 16 · Presto agitato. Beethoven, Op. 27.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f1613fade83b7829ccb4108cf4e0a90dfede6d2fd0509036cb00504f47937a8e", "sourceVerifiedSha256": "f1613fade83b7829ccb4108cf4e0a90dfede6d2fd0509036cb00504f47937a8e", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bars 3–4, bass beats 1–2 (also bar 3 beats 3–4): hollow heads joined by a single beam read as alternating eighth-note measured tremolo, with half-note display and 2:1 duration adjustment. Alternative literal beamed halves would overfill the bar. Checked ex-016-zoom-2.png and ex-016-detail.png (3×)." ] } ], "sha256": "9a9e7abc19f93c4166559b9ca9c43923ff6a434861ce37b6cc466d387809627a" }, { "id": "ex-017", "kind": "music", "path": "assets/reflow/ex-017.png", "dimensions_pixels": [ 1600, 553 ], "description": "Ex. 17 · Allegro con brio. Beethoven, Op. 3.", "source_label": "Example 17 · page 10", "source_pdf": { "path": "source/pdf/book.pdf", "page": 25 }, "continuations": [], "pdf_page": 25, "sources": [ { "pdf_page": 25, "source_image": "source-pages/p-025.jpg", "printed_page": 10 } ], "source_image": "source-pages/p-025.jpg", "printed_page": 10, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-017.musicxml", "label": "Ex. 17 · Allegro con brio. Beethoven, Op. 3.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "7335fa517a10fece15bb0754d29f37507d059683285a004aeb2e8f94a0621a5d", "sourceVerifiedSha256": "7335fa517a10fece15bb0754d29f37507d059683285a004aeb2e8f94a0621a5d", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 1, bass beat 1: four black heads on one stem read as a quarter-note chord C2/E2/G2/C3; no flag visible. Bass thereafter blank, without invented rests. Checked ex-017-zoom-2.png (2×).", "Bar 1, treble beat 1: lower voice begins only at beat 2; no initial rest printed. Last bar is an eighth-note fragment. Checked both ex-017 zooms (2×)." ] } ], "sha256": "45685bf854575c8065d62c773739c18999812ffc50832ef24ba68249aeadc9af" }, { "id": "ex-018", "kind": "music", "path": "assets/reflow/ex-018.png", "dimensions_pixels": [ 1600, 1215 ], "description": "Ex. 18 · Model. Vivace. Beethoven, Variation.", "source_label": "Example 18 · page 11", "source_pdf": { "path": "source/pdf/book.pdf", "page": 26 }, "continuations": [], "pdf_page": 26, "sources": [ { "pdf_page": 26, "source_image": "source-pages/p-026.jpg", "printed_page": 11 } ], "source_image": "source-pages/p-026.jpg", "printed_page": 11, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-018.musicxml", "label": "Ex. 18 · Model. Vivace. Beethoven, Variation.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0a142d987a3acd686c211f6d56ba3407a98ef0d4bba7c8a16f4a428a29ceff85", "sourceVerifiedSha256": "0a142d987a3acd686c211f6d56ba3407a98ef0d4bba7c8a16f4a428a29ceff85", "printed_systems": [ { "bars": 3 }, { "bars": 2 } ], "issues": [ "All three-note, double-beamed groups: no numeral 3 printed. Read as unnumbered sixteenth-note triplets (3:2), matching the printed eighth-note bass alignment; alternative literal sixteenths would produce unequal staff durations. Checked ex-018-zoom-1.png, ex-018-zoom-2.png (2×), and ex-018-detail.png (3×).", "Bar 1 is an eighth-note pickup; bar 5 contains two eighth-note beats. Preserved without padding." ] } ], "sha256": "75c7bd57fd3ef8152469938f9e94433bfd8a30c70382fe4e64164b8c399697e8" }, { "id": "ex-019", "kind": "music", "path": "assets/reflow/ex-019.png", "dimensions_pixels": [ 1600, 562 ], "description": "Ex. 19 · Model. Allegretto. B. Cutter, Verset.", "source_label": "Example 19 · page 12", "source_pdf": { "path": "source/pdf/book.pdf", "page": 27 }, "continuations": [], "pdf_page": 27, "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "source_image": "source-pages/p-027.jpg", "printed_page": 12, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-019.musicxml", "label": "Ex. 19 · Model. Allegretto. B. Cutter, Verset.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0f227c3bbddb05459ce7ac13d495a5d82ae17d172ac23ba189336eb2ac40a16c", "sourceVerifiedSha256": "0f227c3bbddb05459ce7ac13d495a5d82ae17d172ac23ba189336eb2ac40a16c", "printed_systems": [ { "bars": 3 } ] } ], "sha256": "ce7d529de82bdc850f139f6f706678aa392cd13a6c076793000aac48abca5c0f" }, { "id": "ex-020", "kind": "music", "path": "assets/reflow/ex-020.png", "dimensions_pixels": [ 1600, 1086 ], "description": "Ex. 20 · Model. Con moto. B. Cutter, Etude.", "source_label": "Example 20 · page 12", "source_pdf": { "path": "source/pdf/book.pdf", "page": 27 }, "continuations": [], "pdf_page": 27, "sources": [ { "pdf_page": 27, "source_image": "source-pages/p-027.jpg", "printed_page": 12 } ], "source_image": "source-pages/p-027.jpg", "printed_page": 12, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-020.musicxml", "label": "Ex. 20 · Model. Con moto. B. Cutter, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0afb28c2c35df728031fe94b7581d339b184acdc7638ac097ff926a7c806c6a5", "sourceVerifiedSha256": "0afb28c2c35df728031fe94b7581d339b184acdc7638ac097ff926a7c806c6a5", "printed_systems": [ { "bars": 1 }, { "bars": 1 } ] } ], "sha256": "fb714b842c8d2810948d7fd10abf282b440a6c01aede712aae353525ec1f52d5" }, { "id": "ex-021", "kind": "music", "path": "assets/reflow/ex-021.png", "dimensions_pixels": [ 1600, 495 ], "description": "Ex. 21 · Assai lento. Chopin, Op. 28.", "source_label": "Example 21 · page 13", "source_pdf": { "path": "source/pdf/book.pdf", "page": 28 }, "continuations": [], "pdf_page": 28, "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "source_image": "source-pages/p-028.jpg", "printed_page": 13, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-021.musicxml", "label": "Ex. 21 · Assai lento. Chopin, Op. 28.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "78a06ff1c4bfaebcae9407086d63bbe0e5dff6e280d3c0cbeffebc4b0cdfd273", "sourceVerifiedSha256": "78a06ff1c4bfaebcae9407086d63bbe0e5dff6e280d3c0cbeffebc4b0cdfd273", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 4 is a printed one-quarter closing fragment; preserved without added rests (2x zoom)." ] } ], "sha256": "21268c892f2f0e3f6c005b76c3449500caa00648e11ce7a1cb646965c0012243" }, { "id": "ex-022", "kind": "music", "path": "assets/reflow/ex-022.png", "dimensions_pixels": [ 1600, 497 ], "description": "Ex. 22 · Allegro. Wagner, Tannhäuser.", "source_label": "Example 22 · page 13", "source_pdf": { "path": "source/pdf/book.pdf", "page": 28 }, "continuations": [], "pdf_page": 28, "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "source_image": "source-pages/p-028.jpg", "printed_page": 13, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-022.musicxml", "label": "Ex. 22 · Allegro. Wagner, Tannhäuser.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "92103f64bdad8402265b8485d1250bf24bbe7ed0158ee332fb765336488d7b68", "sourceVerifiedSha256": "92103f64bdad8402265b8485d1250bf24bbe7ed0158ee332fb765336488d7b68", "printed_systems": [ { "bars": 2 } ], "issues": [ "RV-005: Bars 1–2 treble groups lack triplet numerals. Choose implied 3:2 eighth triplets from the printed grouping and staff alignment; literal eighths remain an alternative. Bar 1 bass has no rest between chords 3 and 4: preserve the printed seven eighth-note events (3.5 quarters), without inventing a rest. Opening C3 sign is natural (two offset verticals), not sharp. Checked ex-022-zoom.png, ex-022-bass.png, ex-022-sign.png at 3x." ] } ], "sha256": "11f14f83bddfc667beb3556757b0313209201e778f29c43ccca17ba70429fbc2" }, { "id": "ex-023", "kind": "music", "path": "assets/reflow/ex-023.png", "dimensions_pixels": [ 1600, 522 ], "description": "Ex. 23 · Cantabile. Schumann, Op. 6.", "source_label": "Example 23 · page 13", "source_pdf": { "path": "source/pdf/book.pdf", "page": 28 }, "continuations": [], "pdf_page": 28, "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "source_image": "source-pages/p-028.jpg", "printed_page": 13, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-023.musicxml", "label": "Ex. 23 · Cantabile. Schumann, Op. 6.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "19084f3bc2a9237677387953f6d4c359d3b52873bde74ed01c99a7129944bf3a", "sourceVerifiedSha256": "19084f3bc2a9237677387953f6d4c359d3b52873bde74ed01c99a7129944bf3a", "printed_systems": [ { "bars": 3 } ] } ], "sha256": "5469f30d27cf098553c7216a4abff8319d1afd4fa50cdd875b28425c55fa17e6" }, { "id": "ex-024", "kind": "music", "path": "assets/reflow/ex-024.png", "dimensions_pixels": [ 1600, 489 ], "description": "Ex. 24 · Moderato. Cramer, Study.", "source_label": "Example 24 · page 13", "source_pdf": { "path": "source/pdf/book.pdf", "page": 28 }, "continuations": [], "pdf_page": 28, "sources": [ { "pdf_page": 28, "source_image": "source-pages/p-028.jpg", "printed_page": 13 } ], "source_image": "source-pages/p-028.jpg", "printed_page": 13, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-024.musicxml", "label": "Ex. 24 · Moderato. Cramer, Study.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "a194f42a3ed40a68ab64596b1b7d4bf32658184ac350d82142b8fece5f5f4b25", "sourceVerifiedSha256": "a194f42a3ed40a68ab64596b1b7d4bf32658184ac350d82142b8fece5f5f4b25", "printed_systems": [ { "bars": 2 } ] } ], "sha256": "e9439d9d3e81962188c7082f468086e99d682705f1c87ff8569a984cabd6dea7" }, { "id": "ex-025", "kind": "music", "path": "assets/reflow/ex-025.png", "dimensions_pixels": [ 1600, 1658 ], "description": "Ex. 25 · Presto. Beethoven, Op. 35.", "source_label": "Example 25 · page 14", "source_pdf": { "path": "source/pdf/book.pdf", "page": 29 }, "continuations": [], "pdf_page": 29, "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 14 } ], "source_image": "source-pages/p-029.jpg", "printed_page": 14, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-025.musicxml", "label": "Ex. 25 · Presto. Beethoven, Op. 35.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "09e4c5942e7f7aebe6bfdd855e80eb4a2030e30332271c410dc66b9784408d5c", "sourceVerifiedSha256": "09e4c5942e7f7aebe6bfdd855e80eb4a2030e30332271c410dc66b9784408d5c", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 1 extends without a barline over three printed systems. printed_systems is [1,0,1], counting the interrupted measure only where it starts, as instructed; converter currently rejects a zero-bar system.", "Bar 1, opening D6 quarter tied to D6 sixteenth, with fermata; bass B♭1 quarter with inverted fermata. Cross-staff running line remains voice 1 (zoom-25-1.png).", "Bar 1, beat 14 plus an eighth (offset 13.5 quarters): Bb2–B natural2–C3–C#3–D3–Eb3 carry both continuous upper beams and paired lower beams. Encoded as two voices sharing these six heads; zoom-25-2.png. Later Simili is retained as text without inventing further doubled notes.", "Bar 1, descending groups of six sixteenths on system 2 have no printed triplet numerals; only the two explicitly marked triplets at system 1 end receive 3in2 (zoom-25-1.png, zoom-25-2.png).", "Layout record: bar 1 is one unbarred run spanning three printed systems (\"One chord only until the bar line\"), bar 2 the final bar on the third system; printed_systems cannot express a system that starts no bar, so the two bars are recorded as one band (coordinator)." ] } ], "sha256": "4ba05f3089aa74f5a34a1451d83a69fac32011edc8b09bb506245b642e63eec5" }, { "id": "ex-026", "kind": "music", "path": "assets/reflow/ex-026.png", "dimensions_pixels": [ 1600, 506 ], "description": "Ex. 26 · Allegretto vivace. Beethoven, Op. 35.", "source_label": "Example 26 · page 14", "source_pdf": { "path": "source/pdf/book.pdf", "page": 29 }, "continuations": [], "pdf_page": 29, "sources": [ { "pdf_page": 29, "source_image": "source-pages/p-029.jpg", "printed_page": 14 } ], "source_image": "source-pages/p-029.jpg", "printed_page": 14, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-026.musicxml", "label": "Ex. 26 · Allegretto vivace. Beethoven, Op. 35.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "3a201d2ebd821a30e4de5b3a2c67e9fb7b3146c988b42d4e38e31e55854bad19", "sourceVerifiedSha256": "3a201d2ebd821a30e4de5b3a2c67e9fb7b3146c988b42d4e38e31e55854bad19", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1 is an eighth-note pickup; bar 5 contains three eighth-note beats (3/8) within printed 2/4, preserved without padding." ] } ], "sha256": "f906fc04f3413594afa7220aabb771b703184793eba92619571f92c6b9f12a8b" }, { "id": "ex-027", "kind": "music", "path": "assets/reflow/ex-027.png", "dimensions_pixels": [ 1600, 1032 ], "description": "Ex. 27 · Allegro. Hummel, Fantaisie.", "source_label": "Example 27 · page 15", "source_pdf": { "path": "source/pdf/book.pdf", "page": 30 }, "continuations": [], "pdf_page": 30, "sources": [ { "pdf_page": 30, "source_image": "source-pages/p-030.jpg", "printed_page": 15 } ], "source_image": "source-pages/p-030.jpg", "printed_page": 15, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-027.musicxml", "label": "Ex. 27 · Allegro. Hummel, Fantaisie.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "cdbee282d51fa7d903bf51058c4260bef87adc3cb1fa4cf60682706e29aaf6f0", "sourceVerifiedSha256": "cdbee282d51fa7d903bf51058c4260bef87adc3cb1fa4cf60682706e29aaf6f0", "printed_systems": [ { "bars": 1 }, { "bars": 2 } ], "issues": [ "Bar 3 is a final sixteenth-note fragment; no rests added." ] } ], "sha256": "cd1ca7ab2666dd2863c87a7d7f83389383202455223411a038de1e87eebd1174" }, { "id": "fig-034-1", "kind": "image", "path": "assets/reflow/fig-034-1.png", "dimensions_pixels": [ 113, 197 ], "description": "The chord sign of this sentence as printed: small Roman II; below it the figures 6 over 5; below these, in square brackets, sharp 1 over sharp 3.", "source_label": "Example · page 19", "source_pdf": { "path": "source/pdf/book.pdf", "page": 34 }, "continuations": [], "pdf_page": 34, "sources": [ { "pdf_page": 34, "source_image": "source-pages/p-034.jpg", "printed_page": 19 } ], "source_image": "source-pages/p-034.jpg", "printed_page": 19, "music_transcription_status": "non-music", "alt": "The chord sign of this sentence as printed: small Roman II; below it the figures 6 over 5; below these, in square brackets, sharp 1 over sharp 3.", "sha256": "48dd14a23582b19e455a08d862d6b525332a9306774322bd80bfbe976fa83e91" }, { "id": "ex-028", "kind": "music", "path": "assets/reflow/ex-028.png", "dimensions_pixels": [ 1600, 1048 ], "description": "Ex. 28 · Moderato. Mozart, March.", "source_label": "Example 28 · page 20", "source_pdf": { "path": "source/pdf/book.pdf", "page": 35 }, "continuations": [], "pdf_page": 35, "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "source_image": "source-pages/p-035.jpg", "printed_page": 20, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-028.musicxml", "label": "Ex. 28 · Moderato. Mozart, March.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4d338bb84c4a5eebe95b18952dcd44224751ca49e576ff53ad273e8042d110d3", "sourceVerifiedSha256": "4d338bb84c4a5eebe95b18952dcd44224751ca49e576ff53ad273e8042d110d3", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bar 1, beat 1: lower treble C4 half note has its own stem; encoded as voice 2 with no invented later rests (zoom-28-1.png).", "Bar 3: lower treble F4 and D4 quarter notes have no intervening printed rest; a silent forward preserves their beat-1/beat-3 positions (zoom-28-1.png).", "Bar 8: three half notes tied to eighth notes; bar ends after 5/8, preserved without padding (zoom-28-2.png)." ] } ], "sha256": "4b1705605fb4690b4b76881d6053356c14dd0e55abf52233d0b8bac78cf1f5a6" }, { "id": "ex-029", "kind": "music", "path": "assets/reflow/ex-029.png", "dimensions_pixels": [ 1600, 1107 ], "description": "Ex. 29 · Allegro risoluto. Beethoven, March.", "source_label": "Example 29 · page 20", "source_pdf": { "path": "source/pdf/book.pdf", "page": 35 }, "continuations": [], "pdf_page": 35, "sources": [ { "pdf_page": 35, "source_image": "source-pages/p-035.jpg", "printed_page": 20 } ], "source_image": "source-pages/p-035.jpg", "printed_page": 20, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-029.musicxml", "label": "Ex. 29 · Allegro risoluto. Beethoven, March.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "03835f4bc87af6eacd5df5372af1d3de89de2d60d3e30d900454a775b6ea3022", "sourceVerifiedSha256": "03835f4bc87af6eacd5df5372af1d3de89de2d60d3e30d900454a775b6ea3022", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ] } ], "sha256": "e1f03d3387071366086d292dc73eb240ff5c8b81f12a4d979256aed2fa1ea95c" }, { "id": "ex-030", "kind": "music", "path": "assets/reflow/ex-030.png", "dimensions_pixels": [ 1600, 1531 ], "description": "Ex. 30 · Diabelli, Waltz.", "source_label": "Example 30 · page 21", "source_pdf": { "path": "source/pdf/book.pdf", "page": 36 }, "continuations": [], "pdf_page": 36, "sources": [ { "pdf_page": 36, "source_image": "source-pages/p-036.jpg", "printed_page": 21 } ], "source_image": "source-pages/p-036.jpg", "printed_page": 21, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-030.musicxml", "label": "Ex. 30 · Diabelli, Waltz.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "7d53af0fca66f0fafb06f68bdf7a5fa84310651b4ced68adf865f244d36f50c1", "sourceVerifiedSha256": "7d53af0fca66f0fafb06f68bdf7a5fa84310651b4ced68adf865f244d36f50c1", "printed_systems": [ { "bars": 5 }, { "bars": 6 }, { "bars": 6 } ], "issues": [ "Bar 15 beat 3, treble A4: small white patch could suggest a half note; chosen quarter note (compact damaged head, unlike the clearly elongated half-note heads nearby). Checked ex-030-zoom-3.png (2x).", "RV-007: bar 14 beat 3 bass A1 has a small round white hole inside a heavy, compact head, unlike the thin diagonal half-note heads in bar 16. Ambiguous damaged print; choose quarter in the octave with A2. Zoom: RV-007/ex-030-bass-m14.png (3x)." ] } ], "sha256": "3e61e497e92fb8d5f3aae56a54ee2f39076870d1edf1cf7fc0f8ee6a5068dd9e" }, { "id": "ex-031", "kind": "music", "path": "assets/reflow/ex-031.png", "dimensions_pixels": [ 1231, 590 ], "description": "Ex. 31 · Lento. Schubert, Song.", "source_label": "Example 31 · page 24", "source_pdf": { "path": "source/pdf/book.pdf", "page": 39 }, "continuations": [], "pdf_page": 39, "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "source_image": "source-pages/p-039.jpg", "printed_page": 24, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-031.musicxml", "label": "Ex. 31 · Lento. Schubert, Song.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "dc043738ef1380d14ca3b778ed1f019a50e1025133de737c35c58bccc6436026", "sourceVerifiedSha256": "dc043738ef1380d14ca3b778ed1f019a50e1025133de737c35c58bccc6436026", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 1, third eighth: the C♯4/C♯3 octave has a cross-staff stem and shares the adjacent B♭3 eighth flag; read as an eighth tied to a quarter, not an unflagged quarter. The single opening quarter rest is retained in voice 1; voice 2 enters after that rest without a duplicate rest. Zoom: detail-31.png (3×).", "Bar 2 contains four eighths rather than six: all three initial treble notes have augmentation dots; bass has four eighth notes. Preserved short, with no padding. Zoom: detail-31b.png (3×)." ] } ], "sha256": "1761ba3db0f0d21790a0842d4201d6c423ee3da32b903c8892172f499d4d4e20" }, { "id": "ex-032", "kind": "music", "path": "assets/reflow/ex-032.png", "dimensions_pixels": [ 1600, 453 ], "description": "Ex. 32 · Con molto agitazione. Weber, Concertstück", "source_label": "Example 32 · page 24", "source_pdf": { "path": "source/pdf/book.pdf", "page": 39 }, "continuations": [], "pdf_page": 39, "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "source_image": "source-pages/p-039.jpg", "printed_page": 24, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-032.musicxml", "label": "Ex. 32 · Con molto agitazione. Weber, Concertstück", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "d442f9890ae1bbd9d563bb8a9a4f4994fa8b6e2100859d37453147ff6d963c8e", "sourceVerifiedSha256": "d442f9890ae1bbd9d563bb8a9a4f4994fa8b6e2100859d37453147ff6d963c8e", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bars 1–2, beat 3: half-note chords with one stem slash are single-note tremolos (eighth-note repetitions), not ordinary beamed half notes. Zoom: detail-32.png and zoom-32.png (3×).", "Bar 1, beat 1: displaced open C3 half-note head overlaps the first beamed C3 eighth; retained as separate bass voice, not a tie or a replacement note. This voice ends after two beats with no printed rest. Zoom: detail-32.png (3×)." ] } ], "sha256": "5dd0d2649cdfa1e68c36cfb8084d83647fb0aa994fc408cbd6029492a345808d" }, { "id": "ex-033", "kind": "music", "path": "assets/reflow/ex-033.png", "dimensions_pixels": [ 1600, 536 ], "description": "Ex. 33 · Allegro. Chopin, Etude.", "source_label": "Example 33 · page 24", "source_pdf": { "path": "source/pdf/book.pdf", "page": 39 }, "continuations": [], "pdf_page": 39, "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "source_image": "source-pages/p-039.jpg", "printed_page": 24, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-033.musicxml", "label": "Ex. 33 · Allegro. Chopin, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f668ef1ab6a38bca63cc2dbff803e087f0a1570af72579b9d8b8747976daede0", "sourceVerifiedSha256": "f668ef1ab6a38bca63cc2dbff803e087f0a1570af72579b9d8b8747976daede0", "printed_systems": [ { "bars": 2 } ], "issues": [ "Analysis extension line after e I spans both bars; omitted as instructed. The pitches and high ledger lines were checked at 3× in zoom-33.png." ] } ], "sha256": "315ece2b22ee59334836c71f1e5cd7af348398117920a8f2ee7ff35c342f1bd2" }, { "id": "ex-034", "kind": "music", "path": "assets/reflow/ex-034.png", "dimensions_pixels": [ 1418, 657 ], "description": "Ex. 34 · Molto lento. Schumann, Op. 68.", "source_label": "Example 34 · page 24", "source_pdf": { "path": "source/pdf/book.pdf", "page": 39 }, "continuations": [], "pdf_page": 39, "sources": [ { "pdf_page": 39, "source_image": "source-pages/p-039.jpg", "printed_page": 24 } ], "source_image": "source-pages/p-039.jpg", "printed_page": 24, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-034.musicxml", "label": "Ex. 34 · Molto lento. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "873a0f08dc6aaeb55f959936a96f5cbd9da373498b937af397ceac150ac3d8bd", "sourceVerifiedSha256": "873a0f08dc6aaeb55f959936a96f5cbd9da373498b937af397ceac150ac3d8bd", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 1 is a one-quarter pickup; bar 2 contains three quarters. Neither is padded to the printed common time. Zoom: zoom-34.png (3×).", "Bar 1 analysis reads F IV with stacked 7 / ♮1 / ♭7 beneath; enclosing brackets omitted. The small sign before 1 is read as natural, not sharp. Zoom: zoom-34.png (3×).", "QA engraving limitation: the natural and flat in analysis words render as boxes in the PNG; literal ♮ and ♭ remain intact in the sidecar and generated MusicXML." ] } ], "sha256": "7ed37f98a8466e2a6be6ade8fc146b920c7a5701bcdca04ba210258042f9eb89" }, { "id": "ex-035", "kind": "music", "path": "assets/reflow/ex-035.png", "dimensions_pixels": [ 1600, 451 ], "description": "Ex. 35 · Allegretto. B. Cutter, Etude.", "source_label": "Example 35 · page 25", "source_pdf": { "path": "source/pdf/book.pdf", "page": 40 }, "continuations": [], "pdf_page": 40, "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "source_image": "source-pages/p-040.jpg", "printed_page": 25, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-035.musicxml", "label": "Ex. 35 · Allegretto. B. Cutter, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "c510fcd6ffed41966accfa3c054b0a358ab2d7f59fdde242c46dbf18b5ddf044", "sourceVerifiedSha256": "c510fcd6ffed41966accfa3c054b0a358ab2d7f59fdde242c46dbf18b5ddf044", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 1, beat 4 (quarter-note counting), second triplet eighth: F5 bears a double-sharp sign (cross with dots), not an analytical asterisk. Encoded F𝄪5. Zoom: detail-35.png (3×).", "Melody has triplet 3 marks only over the first two groups; the same eighth-triplet pattern continues through both bars. Accompaniment has ordinary eighth-note/rest pairs. First 3 is worn and resembles 8. Zoom: detail-35.png and zoom-35.png (3×).", "Accompaniment crosses from bass to treble after the initial A3/C4 dyad and eighth rest; bass staff is then blank, without added rests. Zoom: zoom-35.png (3×)." ] } ], "sha256": "43f73699d463162b07901c6c970de2d298b37efd9cb5eb5e9dc0207654c9160e" }, { "id": "ex-036", "kind": "music", "path": "assets/reflow/ex-036.png", "dimensions_pixels": [ 1600, 568 ], "description": "Ex. 36 · Presto con fuoco. Chopin, Prelude.", "source_label": "Example 36 · page 25", "source_pdf": { "path": "source/pdf/book.pdf", "page": 40 }, "continuations": [], "pdf_page": 40, "sources": [ { "pdf_page": 40, "source_image": "source-pages/p-040.jpg", "printed_page": 25 } ], "source_image": "source-pages/p-040.jpg", "printed_page": 25, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-036.musicxml", "label": "Ex. 36 · Presto con fuoco. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1a43a8f669c2bfe13037bbf3c0964ce2c872cf11bb680437080fa570af48fae6", "sourceVerifiedSha256": "1a43a8f669c2bfe13037bbf3c0964ce2c872cf11bb680437080fa570af48fae6", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 1 opening treble clef followed immediately by bass clef is preserved through sidecar attributes. Verovio suppresses the second opening clef and renders this bar in treble; MusicXML retains both clefs. Zoom zoom-36.png confirms bass-clef reading." ] } ], "sha256": "32525e0c263bfb396587798d39186fe44e83fe7ff3ee32ae303e25c4be831082" }, { "id": "ex-037", "kind": "music", "path": "assets/reflow/ex-037.png", "dimensions_pixels": [ 1600, 981 ], "description": "Ex. 37 · Adagio. Bizet, L’Arlésienne.", "source_label": "Example 37 · page 26", "source_pdf": { "path": "source/pdf/book.pdf", "page": 41 }, "continuations": [], "pdf_page": 41, "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "source_image": "source-pages/p-041.jpg", "printed_page": 26, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-037.musicxml", "label": "Ex. 37 · Adagio. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "fcfed17b5ebe9b5b16aebd66c08c55c367217bf206fb10fb595a5b10fabe1c7a", "sourceVerifiedSha256": "fcfed17b5ebe9b5b16aebd66c08c55c367217bf206fb10fb595a5b10fabe1c7a", "printed_systems": [ { "bars": 3 }, { "bars": 2 } ], "issues": [ "Bars 1 and 5 are short (one quarter and three eighths respectively), preserved as printed." ] } ], "sha256": "4989ee034645f3dc666f26489f3f120d42bd2b88e1cea6de42614f755dc42bd6" }, { "id": "ex-038", "kind": "music", "path": "assets/reflow/ex-038.png", "dimensions_pixels": [ 1073, 492 ], "description": "Ex. 38 · Allegretto. Grieg, Op. 6.", "source_label": "Example 38 · page 26", "source_pdf": { "path": "source/pdf/book.pdf", "page": 41 }, "continuations": [], "pdf_page": 41, "sources": [ { "pdf_page": 41, "source_image": "source-pages/p-041.jpg", "printed_page": 26 } ], "source_image": "source-pages/p-041.jpg", "printed_page": 26, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-038.musicxml", "label": "Ex. 38 · Allegretto. Grieg, Op. 6.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "013f95fd1701516cd24ff17bcee673bcf0a8c33df0378927b3394b31ec5a0b50", "sourceVerifiedSha256": "013f95fd1701516cd24ff17bcee673bcf0a8c33df0378927b3394b31ec5a0b50", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 1, beat 1: rest has two hooks and a dot; read dotted sixteenth, followed by D5 sixteenth (two beams). This makes upper voice 17/32 against lower half notes; alternative is an eighth-total opening pair with a missing third beam on D5. Preserved visible durations; zoom detail-38.png." ] } ], "sha256": "25bf5a12533e701143c6e56ef98de85bc0bf41fa3f0cf770818a34d318837af9" }, { "id": "ex-039", "kind": "music", "path": "assets/reflow/ex-039.png", "dimensions_pixels": [ 1600, 1042 ], "description": "Ex. 39 · Veloce. B. Cutter, Etude.", "source_label": "Example 39 · page 27", "source_pdf": { "path": "source/pdf/book.pdf", "page": 42 }, "continuations": [], "pdf_page": 42, "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "source_image": "source-pages/p-042.jpg", "printed_page": 27, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-039.musicxml", "label": "Ex. 39 · Veloce. B. Cutter, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1993f3379df311fbed8f47c5a57f55d89eac60e559bef0145a04062f829fafb4", "sourceVerifiedSha256": "1993f3379df311fbed8f47c5a57f55d89eac60e559bef0145a04062f829fafb4", "printed_systems": [ { "bars": 3 }, { "bars": 2 } ], "issues": [ "Bars 1 and 5 are short (one eighth and three eighths). Bar 2 bass lower D2 quarter ends after beat 1; no rest printed for beat 2." ] } ], "sha256": "ca69aa15730a93b56f8d4cc538b3c3d01223987662e7f4501cba01fb13ef5e62" }, { "id": "ex-040", "kind": "music", "path": "assets/reflow/ex-040.png", "dimensions_pixels": [ 1600, 476 ], "description": "Ex. 40 · Andantino. Schumann, Op. 68.", "source_label": "Example 40 · page 27", "source_pdf": { "path": "source/pdf/book.pdf", "page": 42 }, "continuations": [], "pdf_page": 42, "sources": [ { "pdf_page": 42, "source_image": "source-pages/p-042.jpg", "printed_page": 27 } ], "source_image": "source-pages/p-042.jpg", "printed_page": 27, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-040.musicxml", "label": "Ex. 40 · Andantino. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "5ed3a995f466a4d8c58572fe01746a39c6408d4b7035f990e89d8877e6c1c118", "sourceVerifiedSha256": "5ed3a995f466a4d8c58572fe01746a39c6408d4b7035f990e89d8877e6c1c118", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bars 1–3 and 5 alternate bass and treble eighths with no rests printed; sequential staff changes preserve the spacing. Bar 4 treble has separate dotted-quarter upper voice and eighth-note lower voice, sharing initial G4 and A4 heads." ] } ], "sha256": "57391a6dc3c7c6f3e9d3a128eb69d55abd3b04a746f9827441bf48de47fd9f76" }, { "id": "ex-041", "kind": "music", "path": "assets/reflow/ex-041.png", "dimensions_pixels": [ 1600, 558 ], "description": "Ex. 41 · Presto. Beethoven, Variation.", "source_label": "Example 41 · page 28", "source_pdf": { "path": "source/pdf/book.pdf", "page": 43 }, "continuations": [], "pdf_page": 43, "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "source_image": "source-pages/p-043.jpg", "printed_page": 28, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-041.musicxml", "label": "Ex. 41 · Presto. Beethoven, Variation.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6031717908c8605be5e77d6a4234e97e4383aa1b6616ccf3663c8a4b5f3b3e16", "sourceVerifiedSha256": "6031717908c8605be5e77d6a4234e97e4383aa1b6616ccf3663c8a4b5f3b3e16", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bars 1–4: bass G1 confirmed by three ledger lines, zoom-41-bass.png (3x). Printed tr. continuation dots omitted; tr. retained as words. Bar 4 is short (2/4 within 3/4), without added rest." ] } ], "sha256": "c4aa9d44cf291d938391a314cdee2dad086d2f052ee5ba553ae88ef6d921d84b" }, { "id": "ex-042", "kind": "music", "path": "assets/reflow/ex-042.png", "dimensions_pixels": [ 1600, 1011 ], "description": "Ex. 42 · Andantino grazioso. Czerny, Op. 365.", "source_label": "Example 42 · page 28", "source_pdf": { "path": "source/pdf/book.pdf", "page": 43 }, "continuations": [], "pdf_page": 43, "sources": [ { "pdf_page": 43, "source_image": "source-pages/p-043.jpg", "printed_page": 28 } ], "source_image": "source-pages/p-043.jpg", "printed_page": 28, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-042.musicxml", "label": "Ex. 42 · Andantino grazioso. Czerny, Op. 365.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6c9a0e21be9ab64b92f7fc8c9cf867d666eed19acbaa5d6e8970776077fad2c1", "sourceVerifiedSha256": "6c9a0e21be9ab64b92f7fc8c9cf867d666eed19acbaa5d6e8970776077fad2c1", "printed_systems": [ { "bars": 1 }, { "bars": 1 } ], "issues": [ "Bar 1 continues across the system break (16 thirty-seconds per printed system). Bass A2 and D3 each have half-note up stems plus beamed eighth-note down stems; encoded as separate voices.", "Bar 2: treble has five 32nds (three beams/flags), bass G3 quarter tied to eighth plus upper B3 eighth at beat 2. Durations disagree; preserved without padding. Alternative inferred eighth-note treble ending rejected. Zoom: zoom-42-ending.png (3x).", "Bar 1 beat 1: printed lowercase g beneath bass retained literally; meaning unspecified.", "RV-011, bar 1 bass onset 0: A2 has a worn lower stem joining the eighth beam and an upward half-note stem. Shared-head half/eighth chosen; omission of the eighth is plausible in the damaged print. At onset 2, D3 clearly has both stems. Crops ex-042-bass.png and ex-042-spot-1.png (3×)." ] } ], "sha256": "9eb82075a5ae0c2c3e55655da9741b88e96e1944d01f691eebddd2d8cec4e540" }, { "id": "ex-043", "kind": "music", "path": "assets/reflow/ex-043.png", "dimensions_pixels": [ 1600, 443 ], "description": "Ex. 43 · Allegro molto. Beethoven, Quartet, Op. 59, No. 3.", "source_label": "Example 43 · page 29", "source_pdf": { "path": "source/pdf/book.pdf", "page": 44 }, "continuations": [], "pdf_page": 44, "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "source_image": "source-pages/p-044.jpg", "printed_page": 29, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-043.musicxml", "label": "Ex. 43 · Allegro molto. Beethoven, Quartet, Op. 59, No. 3.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "abd559851f1e8b9dc0ee58b99108ba66c91b2512c3c26a2ee7e3e19c7e9e7c57", "sourceVerifiedSha256": "abd559851f1e8b9dc0ee58b99108ba66c91b2512c3c26a2ee7e3e19c7e9e7c57", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 5 is a short two-quarter ending in printed cut time; no rests added." ] } ], "sha256": "a66aa997fc3d5ec1f3fae95387c5987fbc746daf0581f87da8f116d53406a574" }, { "id": "fig-044-1", "kind": "image", "path": "assets/reflow/fig-044-1.png", "dimensions_pixels": [ 130, 193 ], "description": "The second sign as printed, set below the line: small Roman II; below it 6 over 5; below these, in square brackets, sharp 1 over sharp 3.", "source_label": "Example · page 29", "source_pdf": { "path": "source/pdf/book.pdf", "page": 44 }, "continuations": [], "pdf_page": 44, "sources": [ { "pdf_page": 44, "source_image": "source-pages/p-044.jpg", "printed_page": 29 } ], "source_image": "source-pages/p-044.jpg", "printed_page": 29, "music_transcription_status": "non-music", "alt": "The second sign as printed, set below the line: small Roman II; below it 6 over 5; below these, in square brackets, sharp 1 over sharp 3.", "sha256": "d194678847a184c2e029ab53e94c4d28bf84572a4d89ca2c1aeb26f656ac2ba0" }, { "id": "ex-044", "kind": "music", "path": "assets/reflow/ex-044.png", "dimensions_pixels": [ 1600, 450 ], "description": "Ex. 44 · Allegro vivo. Bizet, Carmen.", "source_label": "Example 44 · page 30", "source_pdf": { "path": "source/pdf/book.pdf", "page": 45 }, "continuations": [], "pdf_page": 45, "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "source_image": "source-pages/p-045.jpg", "printed_page": 30, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-044.musicxml", "label": "Ex. 44 · Allegro vivo. Bizet, Carmen.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "754753d0c6f2587eddb73a6a0bda66e06c4937934beff38a52533cdb7c10052e", "sourceVerifiedSha256": "754753d0c6f2587eddb73a6a0bda66e06c4937934beff38a52533cdb7c10052e", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 5 is a single eighth-note ending in 3/8; no rests added." ] } ], "sha256": "83e906fbc1800bd910f4b0ba046c0ec7c21c10929506af684c70597e92acc5ad" }, { "id": "ex-045", "kind": "music", "path": "assets/reflow/ex-045.png", "dimensions_pixels": [ 1600, 832 ], "description": "Ex. 45 · Allegretto. Liszt, Les Préludes.", "source_label": "Example 45 · page 30", "source_pdf": { "path": "source/pdf/book.pdf", "page": 45 }, "continuations": [], "pdf_page": 45, "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "source_image": "source-pages/p-045.jpg", "printed_page": 30, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-045.musicxml", "label": "Ex. 45 · Allegretto. Liszt, Les Préludes.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "cb7c775f541f12628e2cb8464628202ffdb16f38cd707e07367469ee248175d3", "sourceVerifiedSha256": "cb7c775f541f12628e2cb8464628202ffdb16f38cd707e07367469ee248175d3", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bars 1–2 and 5–6: lower bass voice ends after tied dotted quarter + eighth; no rests printed for its last two eighth positions, so left short. Bar 7 lower bass has only dotted-quarter A2.", "Bars 3–4: changing upper pitches D5–C5 and F4–E4 read as slurs; stationary lower A4 and A3 read as ties. Zoom: zoom-45-0.png (2x).", "RV-011: bars 5–6 fifth eighth has C#4/E4/F-double-sharp4/A-sharp4. Other treble chords in these bars are D4/E4/G#4/B4. Crops ex-045-spot-3.png and ex-045-spot-4.png (3×).", "Bar 8 is a single eighth-note ending; no padding." ] } ], "sha256": "d858c14063f4bfb83866c1680841f5e4423b6e73f9491f37aa833ef9587c6ecf" }, { "id": "ex-046", "kind": "music", "path": "assets/reflow/ex-046.png", "dimensions_pixels": [ 1600, 902 ], "description": "Ex. 46 · Andante. Bizet, L’Arlésienne.", "source_label": "Example 46 · page 30", "source_pdf": { "path": "source/pdf/book.pdf", "page": 45 }, "continuations": [], "pdf_page": 45, "sources": [ { "pdf_page": 45, "source_image": "source-pages/p-045.jpg", "printed_page": 30 } ], "source_image": "source-pages/p-045.jpg", "printed_page": 30, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-046.musicxml", "label": "Ex. 46 · Andante. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "ef0e1309a5895e6472d3a24a72e594729cf151c1ee5d92ba204c890ef8a0ea54", "sourceVerifiedSha256": "ef0e1309a5895e6472d3a24a72e594729cf151c1ee5d92ba204c890ef8a0ea54", "printed_systems": [ { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 1, bass beat 1: high ledger note read G4-flat (rather than F4); two ledger lines below and one through head checked in detail-46-0.png at 2x.", "Bars 2 and 4, bass beat 3.5: small slashed eighth grace notes read E4 and G4; checked detail-46-1.png at 2x. Rests inside beamed figures preserved.", "Bar 5 is a short two-beat ending; no padding rests added." ] } ], "sha256": "2bc3d56bb9fdf14ebf1e75197a900fe658160fe6ca8c984cd4ebd8654e95e3fc" }, { "id": "ex-047", "kind": "music", "path": "assets/reflow/ex-047.png", "dimensions_pixels": [ 1600, 511 ], "description": "Ex. 47 · Allegretto. Mozart, Variation.", "source_label": "Example 47 · page 31", "source_pdf": { "path": "source/pdf/book.pdf", "page": 46 }, "continuations": [], "pdf_page": 46, "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "source_image": "source-pages/p-046.jpg", "printed_page": 31, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-047.musicxml", "label": "Ex. 47 · Allegretto. Mozart, Variation.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "af64de678ee45b4338e5172ab9dbba9445fa0f3e7e449065e9c29187711278d6", "sourceVerifiedSha256": "af64de678ee45b4338e5172ab9dbba9445fa0f3e7e449065e9c29187711278d6", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bars 3–4, beat 1: offset upper half notes read A5 and G5, with independent quarter-note middle line and C5 half-note lower line; checked detail-47-1.png at 2x." ] } ], "sha256": "e909f7ab5976f1965e640e520291df34f1e804a4e810c4126d3ef61e5f4357c2" }, { "id": "ex-048", "kind": "music", "path": "assets/reflow/ex-048.png", "dimensions_pixels": [ 1600, 457 ], "description": "Ex. 48 · Molto lento. Schumann, Op. 68.", "source_label": "Example 48 · page 31", "source_pdf": { "path": "source/pdf/book.pdf", "page": 46 }, "continuations": [], "pdf_page": 46, "sources": [ { "pdf_page": 46, "source_image": "source-pages/p-046.jpg", "printed_page": 31 } ], "source_image": "source-pages/p-046.jpg", "printed_page": 31, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-048.musicxml", "label": "Ex. 48 · Molto lento. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "3c0436d011d7348b1e298ecd1bbe4f4a1a01a956a37f65eab870da9716b5e7b8", "sourceVerifiedSha256": "3c0436d011d7348b1e298ecd1bbe4f4a1a01a956a37f65eab870da9716b5e7b8", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 1 is a one-quarter pickup. Bar 3 treble lasts two quarters, but bass visibly has five eighth notes (C3 C3 B2-natural D3 C3), totaling 2.5 quarters. No notes removed or invented; possible faded rhythmic mark unresolved (detail-48-last.png, 3x).", "Bar 3 beat 1, lower treble dyad: read E4-flat/F4-natural, rather than E4-natural/F4-flat, by accidental vertical positions (detail-48-last.png, 3x)." ] } ], "sha256": "7380d2127aed4774d5372921c37ea662a23c3e6bf12180eb943a1270dd41b031" }, { "id": "ex-049", "kind": "music", "path": "assets/reflow/ex-049.png", "dimensions_pixels": [ 1600, 467 ], "description": "Ex. 49 · Allegretto. Schubert, Impromptu.", "source_label": "Example 49 · page 32", "source_pdf": { "path": "source/pdf/book.pdf", "page": 47 }, "continuations": [], "pdf_page": 47, "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "source_image": "source-pages/p-047.jpg", "printed_page": 32, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-049.musicxml", "label": "Ex. 49 · Allegretto. Schubert, Impromptu.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4a0b16d9e92265a8bfef30d88cec062d8d40222714f0c9970b9e7f7bef0b3cb2", "sourceVerifiedSha256": "4a0b16d9e92265a8bfef30d88cec062d8d40222714f0c9970b9e7f7bef0b3cb2", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bars 1 and 5 are one-quarter fragments. Bar 3 bass has D4 quarter then quarter rest only; bars 4–5 lower staff is blank. Preserved without invented rests (detail-49-1.png, 2x).", "Bar 2–3 treble curves read as ties on F4 and A4, not a phrase slur; lower curve touches F4 endpoints (detail-49-0.png, 2x). Bar 4–5 ties retained on A4, C5 and C4 only." ] } ], "sha256": "daaeb7732eb0c68f71ed3c8f654d696a06cb2b7cddb82aeb79ddba1f06b31f12" }, { "id": "ex-050", "kind": "music", "path": "assets/reflow/ex-050.png", "dimensions_pixels": [ 1600, 492 ], "description": "Ex. 50 · Allegro. Beethoven, Op. 14.", "source_label": "Example 50 · page 32", "source_pdf": { "path": "source/pdf/book.pdf", "page": 47 }, "continuations": [], "pdf_page": 47, "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "source_image": "source-pages/p-047.jpg", "printed_page": 32, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-050.musicxml", "label": "Ex. 50 · Allegro. Beethoven, Op. 14.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "c0ff5681d4cdde6857e3ec01681b85437654c862aba9c7d9d3145eff388ec7b2", "sourceVerifiedSha256": "c0ff5681d4cdde6857e3ec01681b85437654c862aba9c7d9d3145eff388ec7b2", "printed_systems": [ { "bars": 4 } ], "issues": [ "Analysis extension line from D I (bar 1) to V7 (bar 4) omitted; endpoints retained as words.", "Bar 4 bass notes read F3 (three ledger lines below treble staff), not D3; checked detail-50-1.png at 2x. Key signature supplies F-sharp; no local accidental printed." ] } ], "sha256": "7a0eef5ed39a4d4005edc8b68bcbe7d7ffdfa46194be681b313ccf5be4daf25d" }, { "id": "ex-051", "kind": "music", "path": "assets/reflow/ex-051.png", "dimensions_pixels": [ 1600, 949 ], "description": "Ex. 51 · Allegretto. Mozart, Variation.", "source_label": "Example 51 · page 32", "source_pdf": { "path": "source/pdf/book.pdf", "page": 47 }, "continuations": [], "pdf_page": 47, "sources": [ { "pdf_page": 47, "source_image": "source-pages/p-047.jpg", "printed_page": 32 } ], "source_image": "source-pages/p-047.jpg", "printed_page": 32, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-051.musicxml", "label": "Ex. 51 · Allegretto. Mozart, Variation.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f129e0a3e987698a2a29545addfeb0196f9db62541cb0d1e166f19cbc8098d51", "sourceVerifiedSha256": "f129e0a3e987698a2a29545addfeb0196f9db62541cb0d1e166f19cbc8098d51", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "RV-013: bar 6 D5 hollow half tied from bar 5; E5 has filled quarter heads on both beats. Faded D5 head read as half (ex-051-detail-1.png, 3x).", "Bars 3–5, beat 1: displaced upper quarter notes and lower dyads read as simultaneous voices, not grace notes (zoom-51-1/2.png)." ] } ], "sha256": "344a610e20661c7b7b6b3cc1fb37acd0bc32f05d0f3fdf935c59a71c9486e01b" }, { "id": "ex-052", "kind": "music", "path": "assets/reflow/ex-052.png", "dimensions_pixels": [ 1600, 461 ], "description": "Ex. 52 · Lento. Bach.", "source_label": "Example 52 · page 33", "source_pdf": { "path": "source/pdf/book.pdf", "page": 48 }, "continuations": [], "pdf_page": 48, "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "source_image": "source-pages/p-048.jpg", "printed_page": 33, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-052.musicxml", "label": "Ex. 52 · Lento. Bach.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1f3ee24c2083489687d45f4be5d04fe5de7961257fd3471818d0dd57477ae312", "sourceVerifiedSha256": "1f3ee24c2083489687d45f4be5d04fe5de7961257fd3471818d0dd57477ae312", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 4 contains one quarter-note beat only, preserved as printed (zoom-52.png)." ] } ], "sha256": "9617bd0f823378fc006d53e42feb090ef7b099818775ad6ea0d57a1956b781dc" }, { "id": "ex-053", "kind": "music", "path": "assets/reflow/ex-053.png", "dimensions_pixels": [ 1600, 987 ], "description": "Ex. 53 · Allegro patetico. B. Cutter, Sonata.", "source_label": "Example 53 · page 33", "source_pdf": { "path": "source/pdf/book.pdf", "page": 48 }, "continuations": [], "pdf_page": 48, "sources": [ { "pdf_page": 48, "source_image": "source-pages/p-048.jpg", "printed_page": 33 } ], "source_image": "source-pages/p-048.jpg", "printed_page": 33, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-053.musicxml", "label": "Ex. 53 · Allegro patetico. B. Cutter, Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "eb16381cd44889b9bbf81fe0fffb16a033bb3155e91f6a9d7a8c4b5a6a6d6524", "sourceVerifiedSha256": "eb16381cd44889b9bbf81fe0fffb16a033bb3155e91f6a9d7a8c4b5a6a6d6524", "printed_systems": [ { "bars": 5 }, { "bars": 4 } ], "issues": [ "Bars 6 and 8: stemless chords read as whole notes tied to following half notes; faint stems could indicate another value. Running bass supports printed bar extents; no filler rests added.", "Bar 1 has bass-only eighth pickup; bar 2 treble enters after two bass quarters, with no printed treble rests.", "RV-013: faded bars 6–7 read F#4–A4–B#4–F#5 over F#3–A3–B#3; all four treble notes tied. Sharp centered on B, displaced A head; bar 7 second chord A4. Bars 8–9 low bass G#1, C#2, then sounding C#1 under printed 8. Staff-line loss leaves pitch placement uncertain; adopted these positions from clef/key and surviving ledger lines (ex-053-detail-0/1.png, chord.png, bass.png, 3x). Tempo damaged; normalized Allegro patetico." ] } ], "sha256": "27e90a6307821cf7dc286f3d258e23452522d2a0722d0e52bcfece3848c005d3" }, { "id": "ex-054", "kind": "music", "path": "assets/reflow/ex-054.png", "dimensions_pixels": [ 1600, 487 ], "description": "Ex. 54 · Veloce. B. Cutter, Etude.", "source_label": "Example 54 · page 34", "source_pdf": { "path": "source/pdf/book.pdf", "page": 49 }, "continuations": [], "pdf_page": 49, "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "source_image": "source-pages/p-049.jpg", "printed_page": 34, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-054.musicxml", "label": "Ex. 54 · Veloce. B. Cutter, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8e69101f0b374f022948b6cda0fafc8a691ed23c3173adff7461a28e93d2f790", "sourceVerifiedSha256": "8e69101f0b374f022948b6cda0fafc8a691ed23c3173adff7461a28e93d2f790", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bars 1 and 3 are short: one eighth and five sixteenths respectively; final single note has two flags, not one. Preserved without padding (zoom-54.png)." ] } ], "sha256": "3e358c498525e62f589bc3d57bf77affa2f63fd20cb36537e7ea8d2939905f71" }, { "id": "ex-055", "kind": "music", "path": "assets/reflow/ex-055.png", "dimensions_pixels": [ 1063, 563 ], "description": "Ex. 55 · Andante. Brahms, Sym. No. 4.", "source_label": "Example 55 · page 34", "source_pdf": { "path": "source/pdf/book.pdf", "page": 49 }, "continuations": [], "pdf_page": 49, "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "source_image": "source-pages/p-049.jpg", "printed_page": 34, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-055.musicxml", "label": "Ex. 55 · Andante. Brahms, Sym. No. 4.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0715571cea32e71715b6f2bb29b612fb69c82aafb2793a1b25dcb18de3c5057c", "sourceVerifiedSha256": "0715571cea32e71715b6f2bb29b612fb69c82aafb2793a1b25dcb18de3c5057c", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bars 1–2 contain two and four eighth-note units respectively despite 6/8; no rests invented. Double-dotted eighth plus thirty-second verified in zoom-55.png." ] } ], "sha256": "3faf7ab371089ff24581325dbc1316de3f1cf9996ac94f1de26f6602936b5458" }, { "id": "ex-056", "kind": "music", "path": "assets/reflow/ex-056.png", "dimensions_pixels": [ 1600, 500 ], "description": "Ex. 56 · Andantino. B. Cutter, Canzona.", "source_label": "Example 56 · page 34", "source_pdf": { "path": "source/pdf/book.pdf", "page": 49 }, "continuations": [], "pdf_page": 49, "sources": [ { "pdf_page": 49, "source_image": "source-pages/p-049.jpg", "printed_page": 34 } ], "source_image": "source-pages/p-049.jpg", "printed_page": 34, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-056.musicxml", "label": "Ex. 56 · Andantino. B. Cutter, Canzona.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "99f2b12bc3a5bd57cf37a1a1ab369c0d88aca04d082d50a29b430ddef4f9f720", "sourceVerifiedSha256": "99f2b12bc3a5bd57cf37a1a1ab369c0d88aca04d082d50a29b430ddef4f9f720", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1 is an eighth-note pickup; bar 5 is a quarter-note ending.", "Bar 4 bass beat 3 has an eighth D3 with a separate upper A3 dotted-sixteenth–C4 thirty-second voice." ] } ], "sha256": "5188969596e962b68f57333c5c2e0f5a2917ce5f23497fbc40a4f70b0c3aa92c" }, { "id": "ex-057", "kind": "music", "path": "assets/reflow/ex-057.png", "dimensions_pixels": [ 1600, 489 ], "description": "Ex. 57 · Molto Allegro. B. Cutter, Etude.", "source_label": "Example 57 · page 35", "source_pdf": { "path": "source/pdf/book.pdf", "page": 50 }, "continuations": [], "pdf_page": 50, "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "source_image": "source-pages/p-050.jpg", "printed_page": 35, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-057.musicxml", "label": "Ex. 57 · Molto Allegro. B. Cutter, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6839ed046ec009ee358153df1ed2005f305931ce607062610b1616b007cfad56", "sourceVerifiedSha256": "6839ed046ec009ee358153df1ed2005f305931ce607062610b1616b007cfad56", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 2 has three quarter-note beats in both staves; kept short." ] } ], "sha256": "7409b1ced54b2c8781e9bb2a4b17862922dbcb13988a8a543fbfa4585bd70394" }, { "id": "fig-050-1", "kind": "image", "path": "assets/reflow/fig-050-1.png", "dimensions_pixels": [ 94, 128 ], "description": "The succession as printed, two stacked chords in italic letters: a over f over D, then d over b over G.", "source_label": "Example · page 35", "source_pdf": { "path": "source/pdf/book.pdf", "page": 50 }, "continuations": [], "pdf_page": 50, "sources": [ { "pdf_page": 50, "source_image": "source-pages/p-050.jpg", "printed_page": 35 } ], "source_image": "source-pages/p-050.jpg", "printed_page": 35, "music_transcription_status": "non-music", "alt": "The succession as printed, two stacked chords in italic letters: a over f over D, then d over b over G.", "sha256": "cf4373e3ccd1d34cb50a9861da5508d756cb68357612fbf114e32b8b76615469" }, { "id": "ex-058", "kind": "music", "path": "assets/reflow/ex-058.png", "dimensions_pixels": [ 1600, 893 ], "description": "Ex. 58 · Andantino. Schumann, Op. 68.", "source_label": "Example 58 · page 36", "source_pdf": { "path": "source/pdf/book.pdf", "page": 51 }, "continuations": [], "pdf_page": 51, "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "source_image": "source-pages/p-051.jpg", "printed_page": 36, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-058.musicxml", "label": "Ex. 58 · Andantino. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "ee1b9ea09cd58cd730661c2339518acda17fb9878ea468e6b1dd71f69c9dad4e", "sourceVerifiedSha256": "ee1b9ea09cd58cd730661c2339518acda17fb9878ea468e6b1dd71f69c9dad4e", "printed_systems": [ { "bars": 4 }, { "bars": 9 } ], "issues": [ "Bars 1–5 alternate bass then treble eighths without printed rests; preserved by sequential staff changes.", "Bars 6, 7, 10 and 13 bass retain opposing stems as separate voices; faint heads read at 3×." ] } ], "sha256": "dd1eef5bc3ff54bad602ae90a04a1243e0fb3bfed51860ab64d96601e020228f" }, { "id": "ex-059", "kind": "music", "path": "assets/reflow/ex-059.png", "dimensions_pixels": [ 1600, 944 ], "description": "Ex. 59 · Allegro. Beethoven, Op. 10, No. 3.", "source_label": "Example 59 · page 36", "source_pdf": { "path": "source/pdf/book.pdf", "page": 51 }, "continuations": [], "pdf_page": 51, "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "source_image": "source-pages/p-051.jpg", "printed_page": 36, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-059.musicxml", "label": "Ex. 59 · Allegro. Beethoven, Op. 10, No. 3.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f04948dd96f04e1e45cdf2b261419d3cc24894b6996dd023f7c974b8d5a842b9", "sourceVerifiedSha256": "f04948dd96f04e1e45cdf2b261419d3cc24894b6996dd023f7c974b8d5a842b9", "printed_systems": [ { "bars": 1 }, { "bars": 2 } ], "issues": [ "Bar 2 beat 4: six notes under printed 6 encoded as sixteenth sextuplet (6in4).", "RV-015: bars 1–3 bass D2/D3 are stemless whole-note octaves (3× detail crops); final octave extends beyond the moving line, as printed." ] } ], "sha256": "297718daeafddd032db2733c0cf5f3e8690faeeff60c133ed8b1f6d29896f1df" }, { "id": "ex-060", "kind": "music", "path": "assets/reflow/ex-060.png", "dimensions_pixels": [ 1600, 444 ], "description": "Ex. 60 · Moderato. Mendelssohn.", "source_label": "Example 60 · page 36", "source_pdf": { "path": "source/pdf/book.pdf", "page": 51 }, "continuations": [], "pdf_page": 51, "sources": [ { "pdf_page": 51, "source_image": "source-pages/p-051.jpg", "printed_page": 36 } ], "source_image": "source-pages/p-051.jpg", "printed_page": 36, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-060.musicxml", "label": "Ex. 60 · Moderato. Mendelssohn.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "76fb23f0272b031500d4e635248756ea4841534f1690ad5dadae9071ce0bbd01", "sourceVerifiedSha256": "76fb23f0272b031500d4e635248756ea4841534f1690ad5dadae9071ce0bbd01", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1 contains only a quarter rest above one beat of bass notes; preserved short.", "RV-015 bar 5: G4 quarter head is horizontally displaced between the two eighth dyads; onset is ambiguous. Chosen onset 0 as a separate voice spanning both eighths (ex-060-spot-1.png, 3×); both readers now agree." ] } ], "sha256": "8b49ae6bc893bf852f45ccae4f8d451e2f9ef1f72648f3743224b2bcf04b6311" }, { "id": "ex-061", "kind": "music", "path": "assets/reflow/ex-061.png", "dimensions_pixels": [ 1600, 450 ], "description": "Ex. 61 · Allegro assai. Bizet, L’Arlésienne.", "source_label": "Example 61 · page 37", "source_pdf": { "path": "source/pdf/book.pdf", "page": 52 }, "continuations": [], "pdf_page": 52, "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "source_image": "source-pages/p-052.jpg", "printed_page": 37, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-061.musicxml", "label": "Ex. 61 · Allegro assai. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f35bddb24ac1c39722cccbb468dfe4051b7b304662ae72142d6797a42bd32477", "sourceVerifiedSha256": "f35bddb24ac1c39722cccbb468dfe4051b7b304662ae72142d6797a42bd32477", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bars 2–5, bass lower voice: diagonal single strokes read as one-stroke tremolos, not beams to another note (zoom-061.png, 2×). Bar 1 is an eighth-note pickup; bar 5 contains three eighth-note beats (1½ quarter beats), as printed." ] } ], "sha256": "2b0bcfb64cef56c904bd81a8e9e8f171b229b457b8ff20d9d06c567e0e63c775" }, { "id": "ex-062", "kind": "music", "path": "assets/reflow/ex-062.png", "dimensions_pixels": [ 1600, 486 ], "description": "Ex. 62 · Con anima. Schumann, Op. 68.", "source_label": "Example 62 · page 37", "source_pdf": { "path": "source/pdf/book.pdf", "page": 52 }, "continuations": [], "pdf_page": 52, "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "source_image": "source-pages/p-052.jpg", "printed_page": 37, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-062.musicxml", "label": "Ex. 62 · Con anima. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f6534476476785d96c7e967976053ed43e2bff7e7f24b8bd4b74e5e9e596b572", "sourceVerifiedSha256": "f6534476476785d96c7e967976053ed43e2bff7e7f24b8bd4b74e5e9e596b572", "printed_systems": [ { "bars": 2 } ], "issues": [ "Bar 2, treble: hollow-looking heads at G♯4 (beat 1), F♯4 (beat 3), and B4 (beat 4) read as worn filled heads; their shared stems/beams specify eighth, eighth, dotted quarter. Bass B3 at beat 4 likewise read as dotted quarter. Checked zoom-062.png (2×) and detail-062.png (3×).", "Bar 2: diagonal analysis pointers from R and 3d. omitted; their text labels retained. F. T. retained as one annotation over the second eighth chord." ] } ], "sha256": "092b633cfca78eee45cfdbb42e0839cc9387295a87a711443fbd4d677d39c9db" }, { "id": "ex-063", "kind": "music", "path": "assets/reflow/ex-063.png", "dimensions_pixels": [ 1600, 456 ], "description": "Ex. 63 · Agitato. Ibid.", "source_label": "Example 63 · page 37", "source_pdf": { "path": "source/pdf/book.pdf", "page": 52 }, "continuations": [], "pdf_page": 52, "sources": [ { "pdf_page": 52, "source_image": "source-pages/p-052.jpg", "printed_page": 37 } ], "source_image": "source-pages/p-052.jpg", "printed_page": 37, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-063.musicxml", "label": "Ex. 63 · Agitato. Ibid.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "577974b1078e32d3c60e4186c590a97016beaf22d88e3e6aeb350401b317f863", "sourceVerifiedSha256": "577974b1078e32d3c60e4186c590a97016beaf22d88e3e6aeb350401b317f863", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 3, treble beat 2: B4 has a hollow-looking head but an eighth flag; read as an eighth with worn fill. Bass bar 3 beat 2 A3 likewise has worn fill within an eighth-note chord. Bar 5 treble D5 is read as a quarter in the shared-stem dyad. Checked zoom-063.png (2×), detail-063.png and detail-063-treble.png (3×).", "Initial lower staff prints bass clef then treble clef before the pickup; both retained. Bar 1 is a two-sixteenth pickup; bar 5 is three eighth-note beats (1½ quarter beats)." ] } ], "sha256": "db1691e72df283001dbd63867af09b124f9b7e1ce3c1c9fd237d78f2b1230fc4" }, { "id": "ex-064", "kind": "music", "path": "assets/reflow/ex-064.png", "dimensions_pixels": [ 1600, 809 ], "description": "Ex. 64 · Lento, con tenerezza. Schumann, Op. 68.", "source_label": "Example 64 · page 38", "source_pdf": { "path": "source/pdf/book.pdf", "page": 53 }, "continuations": [], "pdf_page": 53, "sources": [ { "pdf_page": 53, "source_image": "source-pages/p-053.jpg", "printed_page": 38 } ], "source_image": "source-pages/p-053.jpg", "printed_page": 38, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-064.musicxml", "label": "Ex. 64 · Lento, con tenerezza. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0537ee9a986ce57b1fe77658f2f1984740882e96676e1cf724c65610a69fcf58", "sourceVerifiedSha256": "0537ee9a986ce57b1fe77658f2f1984740882e96676e1cf724c65610a69fcf58", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bar 8, beat 3: G4 head has worn fill, but shares the up-stem and eighth beam with D4; read as a D4/G4 eighth-note chord. No separate down-stem. Resolved against RV-016/ex-064-bar8.png (3×)." ] } ], "sha256": "48c93223f5a5d506499f4eb808101fefe8d74929271e0b21648629159267c113" }, { "id": "ex-065", "kind": "music", "path": "assets/reflow/ex-065.png", "dimensions_pixels": [ 1600, 628 ], "description": "Ex. 65 · Allegro. Beethoven, Op. 14.", "source_label": "Example 65 · page PDF 54", "source_pdf": { "path": "source/pdf/book.pdf", "page": 54 }, "continuations": [], "pdf_page": 54, "sources": [ { "pdf_page": 54, "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54" } ], "source_image": "source-pages/p-054.jpg", "printed_label": "PDF 54", "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-065.musicxml", "label": "Ex. 65 · Allegro. Beethoven, Op. 14.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "26896ee50631144256987d744e25554b1cf7813eacfd15d4efde8a384573dc03", "sourceVerifiedSha256": "26896ee50631144256987d744e25554b1cf7813eacfd15d4efde8a384573dc03", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 1 is a three-eighth pickup; bar 4 contains one quarter only, as printed.", "Bar 2, beat 2, analysis is badly faded: read G II with stacked 6/5/[♯3]; possible II6 without the 5. Brackets retained as text; detail-65-2.png (3×).", "Bar 3, beat 2, upper note read C4 (ledger line), not D4; dot and following A3 sixteenth preserved. Staff lines are faded; zoom-65.png (3×)." ] } ], "sha256": "01c18b86ad3031568a60a92d7b85214fb69e671a0a2a505507eefbae53ac816c" }, { "id": "ex-066", "kind": "music", "path": "assets/reflow/ex-066.png", "dimensions_pixels": [ 1600, 948 ], "description": "Ex. 66 · Andante con moto. Mendelssohn, Song without Words.", "source_label": "Example 66 · page 40", "source_pdf": { "path": "source/pdf/book.pdf", "page": 55 }, "continuations": [], "pdf_page": 55, "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "source_image": "source-pages/p-055.jpg", "printed_page": 40, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-066.musicxml", "label": "Ex. 66 · Andante con moto. Mendelssohn, Song without Words.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "fbde56e4472c0e5073a3352578120683918f45ede465f214dd83d373164145fe", "sourceVerifiedSha256": "fbde56e4472c0e5073a3352578120683918f45ede465f214dd83d373164145fe", "printed_systems": [ { "bars": 3 }, { "bars": 4 } ], "issues": [ "Bar 1 is a quarter-note pickup. The inner sixteenths cross from bass to treble; separate beams retained.", "RV-017: bars 4–5, upper C#5: augmentation dots are not separately clear beside the displaced upper head; the dots beside the adjacent B4 can serve the shared vertical space. Chosen dotted halves, matching the more plausible engraving reading. Ambiguous in both bars; ex-066-halves.png (3×)." ] } ], "sha256": "c3cedf4de3427747612cb72faccd9afefcbb7d97d6e4e423112e2d89744cef61" }, { "id": "ex-067", "kind": "music", "path": "assets/reflow/ex-067.png", "dimensions_pixels": [ 1600, 986 ], "description": "Ex. 67 · Allegro. Mozart, Sonata.", "source_label": "Example 67 · page 40", "source_pdf": { "path": "source/pdf/book.pdf", "page": 55 }, "continuations": [], "pdf_page": 55, "sources": [ { "pdf_page": 55, "source_image": "source-pages/p-055.jpg", "printed_page": 40 } ], "source_image": "source-pages/p-055.jpg", "printed_page": 40, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-067.musicxml", "label": "Ex. 67 · Allegro. Mozart, Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6c0a9b51f60f3397c1c07f2445da86176f0ee33de81df26e2c7abb1fedadddc7", "sourceVerifiedSha256": "6c0a9b51f60f3397c1c07f2445da86176f0ee33de81df26e2c7abb1fedadddc7", "printed_systems": [ { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 5 is a short final bar (one quarter), preserved without added rests." ] } ], "sha256": "28dab6365a9085e79c8aaaa930a3d74df73ecfbce2b1fde0109893652f2699b9" }, { "id": "ex-068", "kind": "music", "path": "assets/reflow/ex-068.png", "dimensions_pixels": [ 1600, 503 ], "description": "Ex. 68 · Molto cantabile. Schumann, Op. 68.", "source_label": "Example 68 · page 41", "source_pdf": { "path": "source/pdf/book.pdf", "page": 56 }, "continuations": [], "pdf_page": 56, "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "source_image": "source-pages/p-056.jpg", "printed_page": 41, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-068.musicxml", "label": "Ex. 68 · Molto cantabile. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "a37cc2e17c345b6775e1aefde5fae83182bacd95805f59ff7ec4d83deecf7742", "sourceVerifiedSha256": "a37cc2e17c345b6775e1aefde5fae83182bacd95805f59ff7ec4d83deecf7742", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1 is an eighth-note pickup; bar 5 lasts a dotted quarter.", "Bar 4, bass beat 1: C3 and G3 have both sixteenth up-stems and eighth down-stems; encoded as two independent voices sharing those printed heads. detail-68-2.png (3×)." ] } ], "sha256": "b2472d8859ed50a31c7218af59ebcf45c51cbfbdccbd0130122e8e9e99a7e836" }, { "id": "ex-069", "kind": "music", "path": "assets/reflow/ex-069.png", "dimensions_pixels": [ 1600, 453 ], "description": "Ex. 69 · Andante. Brahms, Op. 45.", "source_label": "Example 69 · page 41", "source_pdf": { "path": "source/pdf/book.pdf", "page": 56 }, "continuations": [], "pdf_page": 56, "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "source_image": "source-pages/p-056.jpg", "printed_page": 41, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-069.musicxml", "label": "Ex. 69 · Andante. Brahms, Op. 45.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "3ce5b0b19589df33bf228b5d1c35e039aca245ae49bcdea90dc59502dc158c32", "sourceVerifiedSha256": "3ce5b0b19589df33bf228b5d1c35e039aca245ae49bcdea90dc59502dc158c32", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 5: both staves end after two beats in 3/4; retained without padding (zoom-69.png)." ] } ], "sha256": "568d451ba32239b2294f363650c3b308acbca6536fcba7f5e1c5e2c901c1cb6b" }, { "id": "ex-070", "kind": "music", "path": "assets/reflow/ex-070.png", "dimensions_pixels": [ 1600, 471 ], "description": "Ex. 70 · Andantino. Schumann, Op. 15.", "source_label": "Example 70 · page 41", "source_pdf": { "path": "source/pdf/book.pdf", "page": 56 }, "continuations": [], "pdf_page": 56, "sources": [ { "pdf_page": 56, "source_image": "source-pages/p-056.jpg", "printed_page": 41 } ], "source_image": "source-pages/p-056.jpg", "printed_page": 41, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-070.musicxml", "label": "Ex. 70 · Andantino. Schumann, Op. 15.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1852e13e4cd886b5508db9050ede18e107f0ee5cd6042999fc4cb93faeae7477", "sourceVerifiedSha256": "1852e13e4cd886b5508db9050ede18e107f0ee5cd6042999fc4cb93faeae7477", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bars 1–3: three singly beamed accompaniment notes per beat, without printed triplet numerals. Chosen implicit 3:2 eighth-note groups rather than inventing a second beam; cross-staff notes preserved (zoom-70.png, detail-70.png).", "Bar 3: final bar has one beat in 2/4; retained without padding." ] } ], "sha256": "1f7da5d38c5cd6cbc7ab8d4bef80289e348bb5def6b554f96cd64f83584bc8bb" }, { "id": "ex-071", "kind": "music", "path": "assets/reflow/ex-071.png", "dimensions_pixels": [ 1600, 1035 ], "description": "Ex. 71 · Andante. Schubert, Violin Sonata.", "source_label": "Example 71 · page 42", "source_pdf": { "path": "source/pdf/book.pdf", "page": 57 }, "continuations": [], "pdf_page": 57, "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "source_image": "source-pages/p-057.jpg", "printed_page": 42, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-071.musicxml", "label": "Ex. 71 · Andante. Schubert, Violin Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "e46671ecd414b74ab67e33e75e6962e45906ad213bf46101c58886e1aef6db84", "sourceVerifiedSha256": "e46671ecd414b74ab67e33e75e6962e45906ad213bf46101c58886e1aef6db84", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bars 3 and 7: lower treble voice stops after beat 2 where beat-3 chord has one shared stem; no rest added (zoom-71-0.png, zoom-71-1.png).", "Bar 9: two-beat final bar retained without padding.", "Bar 9: B-natural3/F3 and C4/E3 share cross-staff stems; C4 also belongs to upper voice. G3 half is a separate bass voice (detail-71-end.png).", "RV-018 bar 4 staff 1 onset 0: worn head with surviving down-stem and dot most plausibly F4 dotted quarter, not a rest; both readings agree. See RV-018/ex-071-bar4.png (3x)." ] } ], "sha256": "b1c40989779477915a593161764dc408468141249383936ccedab4b4f72527b6" }, { "id": "ex-072", "kind": "music", "path": "assets/reflow/ex-072.png", "dimensions_pixels": [ 1600, 510 ], "description": "Ex. 72 · Allegro deciso. Schumann, Op. 15.", "source_label": "Example 72 · page 42", "source_pdf": { "path": "source/pdf/book.pdf", "page": 57 }, "continuations": [], "pdf_page": 57, "sources": [ { "pdf_page": 57, "source_image": "source-pages/p-057.jpg", "printed_page": 42 } ], "source_image": "source-pages/p-057.jpg", "printed_page": 42, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-072.musicxml", "label": "Ex. 72 · Allegro deciso. Schumann, Op. 15.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "21eb12f6cf0f67e23841f9fc25bda2b76db2a57d17833ad3f6b250799e3df23d", "sourceVerifiedSha256": "21eb12f6cf0f67e23841f9fc25bda2b76db2a57d17833ad3f6b250799e3df23d", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bars 1 and 5 are one-beat pickup and two-beat ending respectively; retained as printed (zoom-72.png)." ] } ], "sha256": "27e0725ba0ce0082f888a8681ea380ff5d7e18fb6fe7ece7484adbc310fc0864" }, { "id": "ex-073", "kind": "music", "path": "assets/reflow/ex-073.png", "dimensions_pixels": [ 1600, 849 ], "description": "Ex. 73 · Andante maestoso. Wagner, Tannhäuser.", "source_label": "Example 73 · page 43", "source_pdf": { "path": "source/pdf/book.pdf", "page": 58 }, "continuations": [], "pdf_page": 58, "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "source_image": "source-pages/p-058.jpg", "printed_page": 43, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-073.musicxml", "label": "Ex. 73 · Andante maestoso. Wagner, Tannhäuser.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "eb06a6ddfc1279d5b185ae92622a540a349c9934d4ba7405830f77ea0f3afeab", "sourceVerifiedSha256": "eb06a6ddfc1279d5b185ae92622a540a349c9934d4ba7405830f77ea0f3afeab", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 6, beat 3: printed tuplet glyph resembles 8; chosen triplet 3:2 for three beamed eighths (zoom-73-1.png).", "Bar 6, beat 1: quarter rest in middle bass voice, with no further rests printed; retained as its own short voice (zoom-73-1.png).", "Bar 7, beat 2: G3 half note is independent of B-sharp3 quarter and lower chord; encoded as third bass voice (detail-73-m7.png).", "Bars 1 and 9 are one-beat pickup and two-beat ending; retained without padding." ] } ], "sha256": "af6b030a534bafa728fa5ec9ac2a78f0c1de57bbfd2a935450fa7b8ce9c3a241" }, { "id": "ex-074", "kind": "music", "path": "assets/reflow/ex-074.png", "dimensions_pixels": [ 1600, 1336 ], "description": "Ex. 74 · Tempo di marcia. Bizet, L’Arlésienne.", "source_label": "Example 74 · page 43", "source_pdf": { "path": "source/pdf/book.pdf", "page": 58 }, "continuations": [], "pdf_page": 58, "sources": [ { "pdf_page": 58, "source_image": "source-pages/p-058.jpg", "printed_page": 43 } ], "source_image": "source-pages/p-058.jpg", "printed_page": 43, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-074.musicxml", "label": "Ex. 74 · Tempo di marcia. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f818705ba823a3f1f1555c030dddc655d104ab07a0bcdfc338d250abf3f2a7ee", "sourceVerifiedSha256": "f818705ba823a3f1f1555c030dddc655d104ab07a0bcdfc338d250abf3f2a7ee", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 3 } ], "issues": [ "Bar 1 is a two-quarter pickup; bar 9 contains only a dotted quarter, preserved without padding.", "Bar 4 beat 2, lower treble C5 to beat 3 C5: curve read as a tie rather than a phrase slur (zoom-74-1.png).", "Bars 2 and 6 beat 3: small F5 eighth is read as an unslashed grace note; tiny mark by flag is unclear (zoom-74-1.png)." ] } ], "sha256": "426463099baa8ea2281e705f15ee2459f78fc2cb5434699e5aa7773f3a61490b" }, { "id": "ex-075", "kind": "music", "path": "assets/reflow/ex-075.png", "dimensions_pixels": [ 1600, 899 ], "description": "Ex. 75 · Andante sostenuto assai. Bizet, L’Arlésienne.", "source_label": "Example 75 · page 44", "source_pdf": { "path": "source/pdf/book.pdf", "page": 59 }, "continuations": [], "pdf_page": 59, "sources": [ { "pdf_page": 59, "source_image": "source-pages/p-059.jpg", "printed_page": 44 } ], "source_image": "source-pages/p-059.jpg", "printed_page": 44, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-075.musicxml", "label": "Ex. 75 · Andante sostenuto assai. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "50f3fd43ee117bf8c378ed19be52ed7176d5fa765cdbaf5ea63a7bf75b0a780e", "sourceVerifiedSha256": "50f3fd43ee117bf8c378ed19be52ed7176d5fa765cdbaf5ea63a7bf75b0a780e", "printed_systems": [ { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 1 is a three-quarter pickup; bar 5 is a one-quarter ending.", "Bars 2 and 4, half note followed by six eighths totals five quarters in the melodic staff; no triplet numeral is visible. Encoded literal eighths rather than inferred triplets (zoom-75-1.png and zoom-75-2.png).", "Bar 4 lower treble has no rest after its last eighth; retained the printed short voice.", "Bar 4 bass beat 2 B2 to E2 curve is a slur (different pitches), then E2 tie (zoom-75-2.png).", "RV-bars bar 2: Melody half tied to first of six single-beamed eighths; five quarters in 4/4. printed irregularity: No tuplet number; retain literal values. ex-075-detail-1-3x.png.", "RV-bars bar 4: Bass melody half plus six eighths; lower treble ends with tied eighth, no following rest. printed irregularity: Retain five-quarter bass and 3.5-quarter inner treble. ex-075-detail-2-3x.png." ] } ], "sha256": "6876bf8aa55058fb5961373be005d795c294c90986a3fa2300fec28996cda4fb" }, { "id": "ex-076", "kind": "music", "path": "assets/reflow/ex-076.png", "dimensions_pixels": [ 1600, 667 ], "description": "Ex. 76 · Vivace. Schubert, Song.", "source_label": "Example 76 · page 45", "source_pdf": { "path": "source/pdf/book.pdf", "page": 60 }, "continuations": [], "pdf_page": 60, "sources": [ { "pdf_page": 60, "source_image": "source-pages/p-060.jpg", "printed_page": 45 } ], "source_image": "source-pages/p-060.jpg", "printed_page": 45, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-076.musicxml", "label": "Ex. 76 · Vivace. Schubert, Song.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f11641d720bf21eb411504355ce70b5bfd88ec77c5a999146c1f516de917347c", "sourceVerifiedSha256": "f11641d720bf21eb411504355ce70b5bfd88ec77c5a999146c1f516de917347c", "printed_systems": [ { "bars": 4 } ], "issues": [ "RV-019: faded staff lines in bars 3–4; upper bass half-note chords chosen G3/B♭3 and G3/D♭4 from head positions against barlines (alternative A♭3/C♭4). Opening bass notes are stemless wholes D3, D3, E♭3, E♭3. See ex-076-zoom.png.", "Analysis brackets around ♯1/♮3 omitted; enclosed figures retained as text. They identify alterations of IV (bars 1–2, beat 3)." ] } ], "sha256": "630f1684210f7034b86d0af78b7ac5d9d4d8e2447db19e6774ebc38dbf63549e" }, { "id": "ex-077", "kind": "music", "path": "assets/reflow/ex-077.png", "dimensions_pixels": [ 1600, 1159 ], "description": "Ex. 77 · Allegro giocoso. Bizet, L’Arlésienne.", "source_label": "Example 77 · page 46", "source_pdf": { "path": "source/pdf/book.pdf", "page": 61 }, "continuations": [], "pdf_page": 61, "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_page": 46 } ], "source_image": "source-pages/p-061.jpg", "printed_page": 46, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-077.musicxml", "label": "Ex. 77 · Allegro giocoso. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "b55c70a313da198c1fd077dc4204ec63c50dfa0109b5d721ab2a37772295ab2d", "sourceVerifiedSha256": "b55c70a313da198c1fd077dc4204ec63c50dfa0109b5d721ab2a37772295ab2d", "printed_systems": [ { "bars": 3 }, { "bars": 3 } ], "issues": [ "Bar 1 bass grace notes: E2, D-flat3, E3, read from ledger/staff positions; small double beams interpreted as unslashed sixteenth graces (zoom-77-1.png).", "Bar 6 is three eighth notes only; preserved without padding." ] } ], "sha256": "b9e79efe3609f3f71bdb23d4bdf6e2d605dd25f944ef11f8040335ffd41b3cc8" }, { "id": "ex-078", "kind": "music", "path": "assets/reflow/ex-078.png", "dimensions_pixels": [ 1600, 994 ], "description": "Ex. 78 · Poco andantino. Franck, L’Organiste.", "source_label": "Example 78 · page 46", "source_pdf": { "path": "source/pdf/book.pdf", "page": 61 }, "continuations": [], "pdf_page": 61, "sources": [ { "pdf_page": 61, "source_image": "source-pages/p-061.jpg", "printed_page": 46 } ], "source_image": "source-pages/p-061.jpg", "printed_page": 46, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-078.musicxml", "label": "Ex. 78 · Poco andantino. Franck, L’Organiste.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "89e4d86c46029010e278b83252108be2e863ae44e79675a718ee0f9e1090f3cd", "sourceVerifiedSha256": "89e4d86c46029010e278b83252108be2e863ae44e79675a718ee0f9e1090f3cd", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 3 lower bass begins at beat 2 with E-natural3 half tied to E3 quarter at beat 4; bar 4 similarly has A3 half tied to A3 quarter. No initial rest printed in these lower voices (zoom-78-2.png).", "Bar 4 upper treble A-natural4 is a stemless whole note (zoom-78-2.png)." ] } ], "sha256": "63b741969ed34d17e513bc4df27a9abf8d34fed176bb27e38c19587f16b46b39" }, { "id": "ex-079", "kind": "music", "path": "assets/reflow/ex-079.png", "dimensions_pixels": [ 1600, 575 ], "description": "Ex. 79 · Allegro. Godard, Violin Sonata", "source_label": "Example 79 · page 47", "source_pdf": { "path": "source/pdf/book.pdf", "page": 62 }, "continuations": [], "pdf_page": 62, "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "source_image": "source-pages/p-062.jpg", "printed_page": 47, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-079.musicxml", "label": "Ex. 79 · Allegro. Godard, Violin Sonata", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "080babaeb0d84b780ba0ef3a339803316a75c2fd3c0c4188af454563804a4486", "sourceVerifiedSha256": "080babaeb0d84b780ba0ef3a339803316a75c2fd3c0c4188af454563804a4486", "printed_systems": [ { "bars": 6 } ], "issues": [ "Bars 3–4: two-bar repeat crosses their shared barline; expanded from bars 1–2 with measure-repeat retained. Verified in RV-020/ex-079-repeat-3x.png.", "Engraving limitation: flat symbols in words render as missing-glyph boxes; Unicode flats are retained in sidecar and MusicXML text." ] } ], "sha256": "193d6f6491195728966e6292499f4fb0421d0f008401a5e42a646d8d5bd019f5" }, { "id": "ex-080", "kind": "music", "path": "assets/reflow/ex-080.png", "dimensions_pixels": [ 1511, 471 ], "description": "Ex. 80 · Non troppo lento. Franck, L’Organiste.", "source_label": "Example 80 · page 47", "source_pdf": { "path": "source/pdf/book.pdf", "page": 62 }, "continuations": [], "pdf_page": 62, "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "source_image": "source-pages/p-062.jpg", "printed_page": 47, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-080.musicxml", "label": "Ex. 80 · Non troppo lento. Franck, L’Organiste.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "e08cf16315e01f22a724f25b61fcf70a8ea52f8d3d1fc03da6e380371f32f6a3", "sourceVerifiedSha256": "e08cf16315e01f22a724f25b61fcf70a8ea52f8d3d1fc03da6e380371f32f6a3", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bars 1 and 4 each contain only one quarter-note beat, as printed; no padding. Bass bar 2 upper B3 is whole, tied into bar 3 (zoom-080.png)." ] } ], "sha256": "12473caf94c28b54a6644f7516b378b7063f19b5e58ec490244a84af0e44790a" }, { "id": "ex-081", "kind": "music", "path": "assets/reflow/ex-081.png", "dimensions_pixels": [ 1600, 1056 ], "description": "Ex. 81 · Moderato. Wagner, Lohengrin.", "source_label": "Example 81 · page 47", "source_pdf": { "path": "source/pdf/book.pdf", "page": 62 }, "continuations": [], "pdf_page": 62, "sources": [ { "pdf_page": 62, "source_image": "source-pages/p-062.jpg", "printed_page": 47 } ], "source_image": "source-pages/p-062.jpg", "printed_page": 47, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-081.musicxml", "label": "Ex. 81 · Moderato. Wagner, Lohengrin.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "874fb9acea2555b954fc306d0f283f4c0ffbfdf526147b49e245398a432dbcbc", "sourceVerifiedSha256": "874fb9acea2555b954fc306d0f283f4c0ffbfdf526147b49e245398a432dbcbc", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bar 7 beat 3: lower treble G3–B3–D4 chord has a very faint/absent stem; half notes chosen over stemless whole notes (zoom-081-end.png, 3×).", "Bar 7 bass beat 3: E2–E3 share an up stem; encoded as a chord after upper-voice D4–A3, while lower D3 half-note voice ends after beat 2 (zoom-081-end.png).", "Engraving limitation: flat symbols in words render as missing-glyph boxes; Unicode flats are retained in sidecar and MusicXML text.", "RV-023: bars 3 (bass E3), 4 (lower A4 and bass A3/C♯4), and 8 (both chords) have stemless hollow heads in a worn print. Whole notes chosen over half notes; faint or lost stems make duration uncertain. Both readers aligned to this engraving reading; see bars3-4-3x.png and bars7-8-3x.png in RV-023." ] } ], "sha256": "2c1bbc4738ab056a38bfea81f733b5a3c0c7217f5d2c5396dce5df585f4c2515" }, { "id": "ex-082", "kind": "music", "path": "assets/reflow/ex-082.png", "dimensions_pixels": [ 1600, 481 ], "description": "Ex. 82 · Allegretto. Franck, L’Organiste.", "source_label": "Example 82 · page 48", "source_pdf": { "path": "source/pdf/book.pdf", "page": 63 }, "continuations": [], "pdf_page": 63, "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_page": 48 } ], "source_image": "source-pages/p-063.jpg", "printed_page": 48, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-082.musicxml", "label": "Ex. 82 · Allegretto. Franck, L’Organiste.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8ac6cc46148a5992e11eb5e3bfe9bb8e784f316d294439f3d979fc553eb5ca22", "sourceVerifiedSha256": "8ac6cc46148a5992e11eb5e3bfe9bb8e784f316d294439f3d979fc553eb5ca22", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1 is a one-quarter pickup; bar 5 lasts three quarters, as printed." ] } ], "sha256": "fc9a61d3be56855254e208930b31aeee79fcda53598e8b4a19e739289779d63a" }, { "id": "ex-083", "kind": "music", "path": "assets/reflow/ex-083.png", "dimensions_pixels": [ 1600, 1776 ], "description": "Ex. 83 · Presto con fuoco. Chopin, Prelude.", "source_label": "Example 83 · page 48", "source_pdf": { "path": "source/pdf/book.pdf", "page": 63 }, "continuations": [], "pdf_page": 63, "sources": [ { "pdf_page": 63, "source_image": "source-pages/p-063.jpg", "printed_page": 48 } ], "source_image": "source-pages/p-063.jpg", "printed_page": 48, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-083.musicxml", "label": "Ex. 83 · Presto con fuoco. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "78dd9f8539ef81bb84d7db5e7cfa23e0a2a2148fc08b1fcdad59564123d1e0cd", "sourceVerifiedSha256": "78dd9f8539ef81bb84d7db5e7cfa23e0a2a2148fc08b1fcdad59564123d1e0cd", "printed_systems": [ { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 2 } ], "issues": [ "Bar 5: treble has six sixteenths (1½ quarters), bass two quarters; unequal closing durations retained." ] } ], "sha256": "d9baeb288063e39089c0175d053c50d99f88c73b66e692e13867a651ec3d8a12" }, { "id": "ex-084", "kind": "music", "path": "assets/reflow/ex-084.png", "dimensions_pixels": [ 1600, 919 ], "description": "Ex. 84 · Allegro molto. Beethoven, Op. 7.", "source_label": "Example 84 · page 49", "source_pdf": { "path": "source/pdf/book.pdf", "page": 64 }, "continuations": [], "pdf_page": 64, "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 } ], "source_image": "source-pages/p-064.jpg", "printed_page": 49, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-084.musicxml", "label": "Ex. 84 · Allegro molto. Beethoven, Op. 7.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "cbf82ec5094c372b312184da88bfbec93d505a3de61b797bcb1c3b7bad16f218", "sourceVerifiedSha256": "cbf82ec5094c372b312184da88bfbec93d505a3de61b797bcb1c3b7bad16f218", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bars 3–4: printed two-bar repeat sign; encoded repetition of bars 1–2 with measure-repeat notation.", "Bars 5–8 bass: single-stroke abbreviations retained as measured tremolos (dotted quarter or dotted half).", "Bar 9: five eighths in each moving line; bass down-stem D3 lasts only a dotted quarter. No missing rests added.", "Two-bar repeat is encoded with MusicXML measure-repeat; Verovio renders separate narrow repeat symbols rather than the source’s single sign spanning the barline." ] } ], "sha256": "61e53d5fb834bb96475b1719764a1e36e9b0bac9c37be8b3a5c9d65c950a36b1" }, { "id": "ex-085", "kind": "music", "path": "assets/reflow/ex-085.png", "dimensions_pixels": [ 1600, 435 ], "description": "Ex. 85 · Allegro. Schubert, Sonata.", "source_label": "Example 85 · page 49", "source_pdf": { "path": "source/pdf/book.pdf", "page": 64 }, "continuations": [ { "path": "assets/reflow/ex-085-p2.png", "dimensions_pixels": [ 1600, 423 ] } ], "pdf_page": 64, "sources": [ { "pdf_page": 64, "source_image": "source-pages/p-064.jpg", "printed_page": 49 }, { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 } ], "source_image": "source-pages/p-064.jpg", "printed_page": 49, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-085.musicxml", "label": "Ex. 85 · Allegro. Schubert, Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "31796847ea4a05439cbe94df67255ab37f30c03f9264404a338ad105d322aa32", "sourceVerifiedSha256": "31796847ea4a05439cbe94df67255ab37f30c03f9264404a338ad105d322aa32", "printed_systems": [ { "bars": 5 }, { "bars": 4 } ], "issues": [ "Bar 1 is a two-quarter pickup." ] } ], "sha256": "e1d3e2c65821c8f2ebd18a089bc877cbde8d5c445fc2499dba8e38ac6e6f64a8" }, { "id": "ex-086", "kind": "music", "path": "assets/reflow/ex-086.png", "dimensions_pixels": [ 1600, 971 ], "description": "Ex. 86 · Allegro ma non troppo. Schubert, Quintet.", "source_label": "Example 86 · page 50", "source_pdf": { "path": "source/pdf/book.pdf", "page": 65 }, "continuations": [ { "path": "assets/reflow/ex-086-p2.png", "dimensions_pixels": [ 1600, 446 ] } ], "pdf_page": 65, "sources": [ { "pdf_page": 65, "source_image": "source-pages/p-065.jpg", "printed_page": 50 }, { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 51 } ], "source_image": "source-pages/p-065.jpg", "printed_page": 50, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-086.musicxml", "label": "Ex. 86 · Allegro ma non troppo. Schubert, Quintet.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "190fb0286572f4de61146a736171c97faa4753912817915838d1a46e35ca8c8e", "sourceVerifiedSha256": "190fb0286572f4de61146a736171c97faa4753912817915838d1a46e35ca8c8e", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bars 1–4 accompaniment: dotted-quarter single-stroke abbreviation read as three triplet eighths occupying one quarter (3 printed in bars 1–2, understood in 3–4); cross-staff line retained.", "Bars 5–7 bass: same single-stroke dotted-quarter abbreviation read as triplets; no 3 reprinted.", "Bar 6 treble voices are whole notes; bar 7 upper voice lasts two quarters. Retained without invented rests." ] } ], "sha256": "293323695fb9b333e8a006464cd1e4a0ea4cb1edafb259cbfe5d45aa3a6f6488" }, { "id": "ex-087", "kind": "music", "path": "assets/reflow/ex-087.png", "dimensions_pixels": [ 1600, 1522 ], "description": "Ex. 87 · Poco animato. Wagner, Götterdämmerung.", "source_label": "Example 87 · page 51", "source_pdf": { "path": "source/pdf/book.pdf", "page": 66 }, "continuations": [ { "path": "assets/reflow/ex-087-p2.png", "dimensions_pixels": [ 1600, 530 ] } ], "pdf_page": 66, "sources": [ { "pdf_page": 66, "source_image": "source-pages/p-066.jpg", "printed_page": 51 }, { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 } ], "source_image": "source-pages/p-066.jpg", "printed_page": 51, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-087.musicxml", "label": "Ex. 87 · Poco animato. Wagner, Götterdämmerung.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "a2bda42e359b4080f88f6f6dd9ad681618b6a5e4b603325ef8f735deaa7969f8", "sourceVerifiedSha256": "a2bda42e359b4080f88f6f6dd9ad681618b6a5e4b603325ef8f735deaa7969f8", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bars 1–7: sextuplet 16ths continue the printed 6 indication in bar 1.", "Bar 1, last accompaniment note: F5 natural shares the melody stem position; retained both voice events despite differing sextuplet/straight onsets.", "Bar 4, bass sextuplets 11 and 17: heads look hollow; beam and rhythmic context indicate 16ths; encoded 16ths.", "Bar 8 is a short half-note ending.", "RV-021: bar 5 lower treble, onset 11/6: worn accidental before B4 has a flat-shaped bowl and incomplete ascender; choose B-flat (alternative B-natural). Carries to B4 at 17/6. A4 notes remain natural. Zoom: RV-021/ex-087-accidental.png." ] } ], "sha256": "ff839b808df1a1a468fb163a541e3e8773ec54042cbeb9d5380d326d3c46abef" }, { "id": "ex-088", "kind": "music", "path": "assets/reflow/ex-088.png", "dimensions_pixels": [ 1600, 543 ], "description": "Ex. 88 · Largo e mesto. Beethoven, Op. 10.", "source_label": "Example 88 · page 52", "source_pdf": { "path": "source/pdf/book.pdf", "page": 67 }, "continuations": [ { "path": "assets/reflow/ex-088-p2.png", "dimensions_pixels": [ 1600, 956 ] } ], "pdf_page": 67, "sources": [ { "pdf_page": 67, "source_image": "source-pages/p-067.jpg", "printed_page": 52 }, { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 53 } ], "source_image": "source-pages/p-067.jpg", "printed_page": 52, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-088.musicxml", "label": "Ex. 88 · Largo e mesto. Beethoven, Op. 10.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "efac6f1b18744dba4b690413d1cef42e2ae49c3e1e90aa4cc230f161c56d1350", "sourceVerifiedSha256": "efac6f1b18744dba4b690413d1cef42e2ae49c3e1e90aa4cc230f161c56d1350", "printed_systems": [ { "bars": 2 }, { "bars": 3 }, { "bars": 3 } ], "issues": [ "Bars 4–5: printed brackets over starred chord progressions omitted; asterisks retained.", "Bars 3–7: bass notes carrying two stems are represented in both independent voices.", "Bar 8: final chords are 16ths, without padding." ] } ], "sha256": "d84769b8b81feb307de7bf06f8d518c7436c61a8f0407b374d0589934144144d" }, { "id": "ex-089", "kind": "music", "path": "assets/reflow/ex-089.png", "dimensions_pixels": [ 1600, 917 ], "description": "Ex. 89 · Allegro ma non troppo. Liszt, Les Préludes.", "source_label": "Example 89 · page 53", "source_pdf": { "path": "source/pdf/book.pdf", "page": 68 }, "continuations": [], "pdf_page": 68, "sources": [ { "pdf_page": 68, "source_image": "source-pages/p-068.jpg", "printed_page": 53 } ], "source_image": "source-pages/p-068.jpg", "printed_page": 53, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-089.musicxml", "label": "Ex. 89 · Allegro ma non troppo. Liszt, Les Préludes.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "77982490c64e90a60036bd20f23671512cc1e0e8d476589862fbb3359acf40d0", "sourceVerifiedSha256": "77982490c64e90a60036bd20f23671512cc1e0e8d476589862fbb3359acf40d0", "printed_systems": [ { "bars": 3 }, { "bars": 3 } ] } ], "sha256": "650f6704f2377043b61810ad2ca6d3e666cf3587eebe8c4ad467805e9a91322e" }, { "id": "ex-090", "kind": "music", "path": "assets/reflow/ex-090.png", "dimensions_pixels": [ 1600, 881 ], "description": "Ex. 90 · Vivace. Cramer, Etude.", "source_label": "Example 90 · page 54", "source_pdf": { "path": "source/pdf/book.pdf", "page": 69 }, "continuations": [], "pdf_page": 69, "sources": [ { "pdf_page": 69, "source_image": "source-pages/p-069.jpg", "printed_page": 54 } ], "source_image": "source-pages/p-069.jpg", "printed_page": 54, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-090.musicxml", "label": "Ex. 90 · Vivace. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "7fe32a7e2bb97a8faea938f69a747330c9f71fee0d8231486bfd179b745f9ab0", "sourceVerifiedSha256": "7fe32a7e2bb97a8faea938f69a747330c9f71fee0d8231486bfd179b745f9ab0", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 4: treble has six 32nds (dotted eighth), bass has an eighth; retained the unequal short ending.", "Bars 2–3: cross-staff runs kept in voice 1; bass dotted eighths are voice 2.", "Bars 2–3: MusicXML retains bass-to-treble and return bass clefs at the printed run positions; Verovio cross-staff engraving places lower-staff run heads as though under bass clef. Written pitches and explicit clef insertions were checked; no pitch adjustment made to compensate." ] } ], "sha256": "dcffaa0045ef145d7e9a4c79a4c0a781879d645e674fff654076af5639346b64" }, { "id": "ex-091", "kind": "music", "path": "assets/reflow/ex-091.png", "dimensions_pixels": [ 1600, 430 ], "description": "Ex. 91 · Andantino. Mendelssohn, Part Song.", "source_label": "Example 91 · page 55", "source_pdf": { "path": "source/pdf/book.pdf", "page": 70 }, "continuations": [], "pdf_page": 70, "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "source_image": "source-pages/p-070.jpg", "printed_page": 55, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-091.musicxml", "label": "Ex. 91 · Andantino. Mendelssohn, Part Song.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "98eb83d7aaa86dbbebbc4b84d0b807523243a1cb1efee27a2ecddb5f2e455e13", "sourceVerifiedSha256": "98eb83d7aaa86dbbebbc4b84d0b807523243a1cb1efee27a2ecddb5f2e455e13", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1 is a quarter-note pickup; bar 5 contains a dotted half, as printed." ] } ], "sha256": "2180f9970208dff7e89e32b1c3deab4d14ed702fd536f240a51c9345860e3a77" }, { "id": "ex-092", "kind": "music", "path": "assets/reflow/ex-092.png", "dimensions_pixels": [ 1600, 476 ], "description": "Ex. 92 · Allegretto. Verdi, Falstaff.", "source_label": "Example 92 · page 55", "source_pdf": { "path": "source/pdf/book.pdf", "page": 70 }, "continuations": [], "pdf_page": 70, "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "source_image": "source-pages/p-070.jpg", "printed_page": 55, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-092.musicxml", "label": "Ex. 92 · Allegretto. Verdi, Falstaff.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "18bb0cd5b1df4191a23d155c8e430d966f0638aa8c9446eda2f7b8892a3c2e99", "sourceVerifiedSha256": "18bb0cd5b1df4191a23d155c8e430d966f0638aa8c9446eda2f7b8892a3c2e99", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 2, treble: no repeated triplet numerals are visible; chose continued triplet eighth groups and quarter/eighth pairs from the printed bar-1 pattern and alignment with bass; literal ordinary values would total six beats. Zoom: ex-092-zoom-2.png.", "Bar 1 bass: upper line joins the final quarter-note chord; lower line ends after its beat-3 quarter rest. No extra rest added.", "Bar 3 contains two quarters and an eighth (2½ beats), preserved short." ] } ], "sha256": "3a499de9cda6caa38e6b64a00ae55e264fb18bb190c533a2ec024fe6e8ae441b" }, { "id": "ex-093", "kind": "music", "path": "assets/reflow/ex-093.png", "dimensions_pixels": [ 1600, 470 ], "description": "Ex. 93 · Allegro. Beethoven, Op. 10.", "source_label": "Example 93 · page 55", "source_pdf": { "path": "source/pdf/book.pdf", "page": 70 }, "continuations": [], "pdf_page": 70, "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "source_image": "source-pages/p-070.jpg", "printed_page": 55, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-093.musicxml", "label": "Ex. 93 · Allegro. Beethoven, Op. 10.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "a34421ec6bc1942f918b4d4268725f5806094d7c3b19d6e24da79cda9d509f25", "sourceVerifiedSha256": "a34421ec6bc1942f918b4d4268725f5806094d7c3b19d6e24da79cda9d509f25", "printed_systems": [ { "bars": 6 } ], "issues": [ "Bars 1 and 6 contain only an eighth-note event; preserved as short excerpt bars." ] } ], "sha256": "7ca6a053b35f20f1b37e9c81fddb80336b23c694b2fcfaaa69a4cc2313118372" }, { "id": "ex-094", "kind": "music", "path": "assets/reflow/ex-094.png", "dimensions_pixels": [ 1600, 471 ], "description": "Ex. 94 · Allegro. Bach, Matt. Passion.", "source_label": "Example 94 · page 55", "source_pdf": { "path": "source/pdf/book.pdf", "page": 70 }, "continuations": [], "pdf_page": 70, "sources": [ { "pdf_page": 70, "source_image": "source-pages/p-070.jpg", "printed_page": 55 } ], "source_image": "source-pages/p-070.jpg", "printed_page": 55, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-094.musicxml", "label": "Ex. 94 · Allegro. Bach, Matt. Passion.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "82ab8c20b01b51394eab34931b34c00be8322418fa8475ef771fa3bfcc827435", "sourceVerifiedSha256": "82ab8c20b01b51394eab34931b34c00be8322418fa8475ef771fa3bfcc827435", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 1: treble half note aligns with bass beat 2; encoded at beat 2 without inventing a preceding rest (bass entered first).", "Bar 4 beat 4: B4 follows printed B-flat in the same bar without cancellation; preserved as printed, sounding B-flat and tied to bar 5 B4. Zoom ex-094-zoom-2.png.", "Bar 5 contains three beats; preserved short.", "Bar 1 bass: split the opposing stems into upper C3/A-flat3 and lower A-flat2, then upper E-flat4 and lower E-flat3 at beat 3. Lower voice has no printed rests in the gaps; used cursor movement only. Zoom ex-094-zoom-1.png." ] } ], "sha256": "c556db03af5e5a721bce8d68fd25ef53ce7954e8f9be4987031f5f0b68b6f7f5" }, { "id": "fig-071-1", "kind": "image", "path": "assets/reflow/fig-071-1.png", "dimensions_pixels": [ 1600, 264 ], "description": "The figurings of the first paragraph as printed: Augmented Sixth, 6 with a raised plus; Augmented Six-Five, 6 with raised plus over 5; Augmented Six-Four-Three, in a large parenthesis, 6+ over 4+ over 3; Doubly Augmented Fourth, in a large parenthesis, 4++ or 6+ over 4++ over 3.", "source_label": "Example · page 56", "source_pdf": { "path": "source/pdf/book.pdf", "page": 71 }, "continuations": [], "pdf_page": 71, "sources": [ { "pdf_page": 71, "source_image": "source-pages/p-071.jpg", "printed_page": 56 } ], "source_image": "source-pages/p-071.jpg", "printed_page": 56, "music_transcription_status": "non-music", "alt": "The figurings of the first paragraph as printed: Augmented Sixth, 6 with a raised plus; Augmented Six-Five, 6 with raised plus over 5; Augmented Six-Four-Three, in a large parenthesis, 6+ over 4+ over 3; Doubly Augmented Fourth, in a large parenthesis, 4++ or 6+ over 4++ over 3.", "sha256": "2c910f667a4483bdeb0b32719c470a998c22f98fdc5adcf9e56bd36b065ad430" }, { "id": "mus-072-1", "kind": "music", "path": "assets/reflow/mus-072-1.png", "dimensions_pixels": [ 1600, 685 ], "description": "Music example", "source_label": "Example · page 57", "source_pdf": { "path": "source/pdf/book.pdf", "page": 72 }, "continuations": [], "pdf_page": 72, "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "source_image": "source-pages/p-072.jpg", "printed_page": 57, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/mus-072-1.musicxml", "label": "Music example", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "d29bd2583166bf4fdbb1a2aa384eb02ba77fd743422ac8b4871de3e6e589c464", "sourceVerifiedSha256": "d29bd2583166bf4fdbb1a2aa384eb02ba77fd743422ac8b4871de3e6e589c464", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 1 beat 1, bottom analysis figure is damaged; read 4 (alternative illegible), from mus-072-1-zoom-1.png.", "Analytical square brackets omitted; enclosed alteration symbols retained as separate words stacks.", "RV-025: bar 2 beat 2 visibly has two G4 heads beside one stem; both retained. See mus-072-1-detail-1.png." ] } ], "sha256": "6a55e2519d1d3ce4a9b28546c77d47fb9aeac50f5f6d04e68cdbfa1be47a1b6c" }, { "id": "ex-095", "kind": "music", "path": "assets/reflow/ex-095.png", "dimensions_pixels": [ 1600, 522 ], "description": "Ex. 95 · Allegro moderato. Schubert, Song.", "source_label": "Example 95 · page 57", "source_pdf": { "path": "source/pdf/book.pdf", "page": 72 }, "continuations": [], "pdf_page": 72, "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "source_image": "source-pages/p-072.jpg", "printed_page": 57, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-095.musicxml", "label": "Ex. 95 · Allegro moderato. Schubert, Song.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "366564f701724a0437748ebf07123a033645299dc8833ee468398f312aefbf6a", "sourceVerifiedSha256": "366564f701724a0437748ebf07123a033645299dc8833ee468398f312aefbf6a", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bar 5 lasts three quarter beats; no rest added." ] } ], "sha256": "0cf4d70e1f0f25569687ad69c214d39416f0aadff1b356d30a91c012f8f93e5a" }, { "id": "ex-096", "kind": "music", "path": "assets/reflow/ex-096.png", "dimensions_pixels": [ 1600, 510 ], "description": "Ex. 96 · Agitato. Wagner, Lohengrin.", "source_label": "Example 96 · page 57", "source_pdf": { "path": "source/pdf/book.pdf", "page": 72 }, "continuations": [], "pdf_page": 72, "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "source_image": "source-pages/p-072.jpg", "printed_page": 57, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-096.musicxml", "label": "Ex. 96 · Agitato. Wagner, Lohengrin.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8a3998572724cdeffbf36b5cb294ad3fd5aa98eb469c619013d0507f885b4114", "sourceVerifiedSha256": "8a3998572724cdeffbf36b5cb294ad3fd5aa98eb469c619013d0507f885b4114", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 2 beat 3: small bass grace note read D2 before D3 half; zoom-96-0.png.", "RV-026: bar 1 worn overlapping hollow heads read C♯4/E4, with no independent D4 head; sharp centered on C4 ledger. Both readings settled to this plausible engraving reading (ex-096-spot-0.png).", "RV-026: bar 3 lower B♭1 is stemless whole; bar 4 final A4 is 32nd. Printed closing rhythm retained without padding." ] } ], "sha256": "7c86de1aa0db789b589d61cdb6bf74898cf4d21b0f9acac0f7af88fb6d0ab100" }, { "id": "ex-097", "kind": "music", "path": "assets/reflow/ex-097.png", "dimensions_pixels": [ 1600, 464 ], "description": "Ex. 97 · Allegretto. Franck, Violin Sonata.", "source_label": "Example 97 · page 57", "source_pdf": { "path": "source/pdf/book.pdf", "page": 72 }, "continuations": [], "pdf_page": 72, "sources": [ { "pdf_page": 72, "source_image": "source-pages/p-072.jpg", "printed_page": 57 } ], "source_image": "source-pages/p-072.jpg", "printed_page": 57, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-097.musicxml", "label": "Ex. 97 · Allegretto. Franck, Violin Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4e8def49069d5ec5cf7305e9aa235117ce517a993d24f2b872db0415efc0b656", "sourceVerifiedSha256": "4e8def49069d5ec5cf7305e9aa235117ce517a993d24f2b872db0415efc0b656", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 3: sharp signs on B3 and F4 read literally; final bar is dotted quarter only (zoom-97.png)." ] } ], "sha256": "4b08fcef34ed95ab6f47972943a93e98e83280fc4175a9df19bd7632b1774868" }, { "id": "ex-098", "kind": "music", "path": "assets/reflow/ex-098.png", "dimensions_pixels": [ 1600, 454 ], "description": "Ex. 98 · Andante. Paukner, Bohemian Air.", "source_label": "Example 98 · page 58", "source_pdf": { "path": "source/pdf/book.pdf", "page": 73 }, "continuations": [], "pdf_page": 73, "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "source_image": "source-pages/p-073.jpg", "printed_page": 58, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-098.musicxml", "label": "Ex. 98 · Andante. Paukner, Bohemian Air.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "afcba0082cf339b1b9c6a656498aec4e66a448754247cad3c3bf35494abc5819", "sourceVerifiedSha256": "afcba0082cf339b1b9c6a656498aec4e66a448754247cad3c3bf35494abc5819", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 3 is half-note closing fragment; no rest added (zoom-98.png)." ] } ], "sha256": "42338511b4d3fd61c45620014a8a9c30c8c1af7c1d4c0b094c95a59a44a65816" }, { "id": "ex-099", "kind": "music", "path": "assets/reflow/ex-099.png", "dimensions_pixels": [ 1600, 1056 ], "description": "Ex. 99 · Andante. Wagner, Lohengrin.", "source_label": "Example 99 · page 58", "source_pdf": { "path": "source/pdf/book.pdf", "page": 73 }, "continuations": [], "pdf_page": 73, "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "source_image": "source-pages/p-073.jpg", "printed_page": 58, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-099.musicxml", "label": "Ex. 99 · Andante. Wagner, Lohengrin.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "e3c2d51b9a1aa644edb10e5f7e069cd308157f7b2508fcbcd892f454b52d39ca", "sourceVerifiedSha256": "e3c2d51b9a1aa644edb10e5f7e069cd308157f7b2508fcbcd892f454b52d39ca", "printed_systems": [ { "bars": 3 }, { "bars": 2 } ], "issues": [ "Bar 1 pickup totals 5/16: C4 sixteenth, C4 eighth, D4 eighth; bass sixteenth rest then quarter rest. No missing dot inferred (zoom-99-0.png).", "Bar 3 upper D4 half and bass A♭1/A♭2 whole have no following rests; retain short voices. Bar 4 D4 half ties to eighth only (zoom-99-1.png).", "Bar 4 beat 2 final triplet: bass prints C4 alone, unlike preceding A♭3/C4 dyads; retained (zoom-99-0.png).", "Bar 5 closes after one quarter." ] } ], "sha256": "ae4daebdea650e14405348ee8381c55b7b2bbb11efcfbfb13f9f7ba5d0870a42" }, { "id": "ex-100", "kind": "music", "path": "assets/reflow/ex-100.png", "dimensions_pixels": [ 1600, 506 ], "description": "Ex. 100 · Allegro. Mozart, Don Giovanni.", "source_label": "Example 100 · page 58", "source_pdf": { "path": "source/pdf/book.pdf", "page": 73 }, "continuations": [], "pdf_page": 73, "sources": [ { "pdf_page": 73, "source_image": "source-pages/p-073.jpg", "printed_page": 58 } ], "source_image": "source-pages/p-073.jpg", "printed_page": 58, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-100.musicxml", "label": "Ex. 100 · Allegro. Mozart, Don Giovanni.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1bffdf62bc4c3edfe3c4e1d7b79eb317629a1f1e634694fe4a3f4285970f211c", "sourceVerifiedSha256": "1bffdf62bc4c3edfe3c4e1d7b79eb317629a1f1e634694fe4a3f4285970f211c", "printed_systems": [ { "bars": 5 } ], "issues": [ "Bars 3–4 bass paired half-note tremolos encoded with 2:1 duration scaling (zoom-100-1.png).", "Bar 5 is one-quarter closing fragment; no rests added." ] } ], "sha256": "6605ebbc822c514de70674ea89fb34f0f424d8f1c1d9e2279f1edcecfde9e7c0" }, { "id": "ex-101", "kind": "music", "path": "assets/reflow/ex-101.png", "dimensions_pixels": [ 1600, 503 ], "description": "Ex. 101 · Allegro molto. Beethoven, Op. 7.", "source_label": "Example 101 · page 59", "source_pdf": { "path": "source/pdf/book.pdf", "page": 74 }, "continuations": [], "pdf_page": 74, "sources": [ { "pdf_page": 74, "source_image": "source-pages/p-074.jpg", "printed_page": 59 } ], "source_image": "source-pages/p-074.jpg", "printed_page": 59, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-101.musicxml", "label": "Ex. 101 · Allegro molto. Beethoven, Op. 7.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "cc60ab4a9092d0565bf3ea2c576bba47417d9f37f52898c80245bc5bb7d72395", "sourceVerifiedSha256": "cc60ab4a9092d0565bf3ea2c576bba47417d9f37f52898c80245bc5bb7d72395", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 3 is a printed eighth-note ending, left short. Bar 2 first seven sixteenths carry the printed 7, encoded 7:6." ] } ], "sha256": "88f996e7db4df4fe78eff5abdb2a2b22f39fae39fbf7c92da26c6679ff977bcc" }, { "id": "ex-102", "kind": "music", "path": "assets/reflow/ex-102.png", "dimensions_pixels": [ 1600, 2176 ], "description": "Ex. 102 · Presto. Chopin, Prelude.", "source_label": "Example 102 · page 60", "source_pdf": { "path": "source/pdf/book.pdf", "page": 75 }, "continuations": [], "pdf_page": 75, "sources": [ { "pdf_page": 75, "source_image": "source-pages/p-075.jpg", "printed_page": 60 } ], "source_image": "source-pages/p-075.jpg", "printed_page": 60, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-102.musicxml", "label": "Ex. 102 · Presto. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "354703dc7ba614dd434aa38994fc8c49e6a4b194721256533f6f88e99a1cdfab", "sourceVerifiedSha256": "354703dc7ba614dd434aa38994fc8c49e6a4b194721256533f6f88e99a1cdfab", "printed_systems": [ { "bars": 3 }, { "bars": 4 }, { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bars 7 and 15 are printed quarter-note endings, left short.", "Bars 8, 12 and 13: opening shared stems encoded as chords; subsequent opposed stems encoded as separate voices.", "Bar 11 beat 3: printed G5 double sharp is a single eighth; next eighth has F5 and A5 sharp. Checked zoom-102-acc.png." ] } ], "sha256": "6dc280b35cbdcebf7779cab2452ace6de2e29c26e20fcc8347c9909c0556d89f" }, { "id": "ex-103", "kind": "music", "path": "assets/reflow/ex-103.png", "dimensions_pixels": [ 1600, 523 ], "description": "Ex. 103 · Allegretto. Franck, Violin Sonata.", "source_label": "Example 103 · page 61", "source_pdf": { "path": "source/pdf/book.pdf", "page": 76 }, "continuations": [], "pdf_page": 76, "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "source_image": "source-pages/p-076.jpg", "printed_page": 61, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-103.musicxml", "label": "Ex. 103 · Allegretto. Franck, Violin Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "e47ec8156eec5e402f7b62ee1346487e17d7f6d0fa0feee77e4d0cd4d0273758", "sourceVerifiedSha256": "e47ec8156eec5e402f7b62ee1346487e17d7f6d0fa0feee77e4d0cd4d0273758", "printed_systems": [ { "bars": 4 } ], "issues": [ "Bar 3: sustained chords and the quarter-rest/eighth/dotted-quarter upper line are separate voices on each staff; bass upper line ends after six eighths, with no invented rest.", "Bar 4 is a printed dotted-half ending, left short." ] } ], "sha256": "c34eafddade0bf5299ddbe0a5559d9ac0373d76e6f04a6945fae9e05101be51c" }, { "id": "fig-076-1", "kind": "image", "path": "assets/reflow/fig-076-1.png", "dimensions_pixels": [ 1464, 249 ], "description": "The six signs as printed: small II, with the bracketed alterations natural or flat 1 over natural or flat 5; small II with superscript °, with bracket flat 1; small II with subscript 6, with bracket natural or flat 1; N with subscript 6; small II with 6 over 4 below, with bracket natural or flat 1 over natural or flat 5; small II with superscript ° and 6 over 4 below, with bracket natural or flat 1.", "source_label": "Example · page 61", "source_pdf": { "path": "source/pdf/book.pdf", "page": 76 }, "continuations": [], "pdf_page": 76, "sources": [ { "pdf_page": 76, "source_image": "source-pages/p-076.jpg", "printed_page": 61 } ], "source_image": "source-pages/p-076.jpg", "printed_page": 61, "music_transcription_status": "non-music", "alt": "The six signs as printed: small II, with the bracketed alterations natural or flat 1 over natural or flat 5; small II with superscript °, with bracket flat 1; small II with subscript 6, with bracket natural or flat 1; N with subscript 6; small II with 6 over 4 below, with bracket natural or flat 1 over natural or flat 5; small II with superscript ° and 6 over 4 below, with bracket natural or flat 1.", "sha256": "c217a4049ad25d228971ac2dc1759c301653eb706155485b9c912af3eddc8202" }, { "id": "ex-104", "kind": "music", "path": "assets/reflow/ex-104.png", "dimensions_pixels": [ 1600, 469 ], "description": "Ex. 104 · Allegro. Wagner, Flying Dutchman.", "source_label": "Example 104 · page 62", "source_pdf": { "path": "source/pdf/book.pdf", "page": 77 }, "continuations": [], "pdf_page": 77, "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "source_image": "source-pages/p-077.jpg", "printed_page": 62, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-104.musicxml", "label": "Ex. 104 · Allegro. Wagner, Flying Dutchman.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "9daa8552b7c4a52a79804080bb3e8b905a17d06a3f89380fc30da2df729a30e2", "sourceVerifiedSha256": "9daa8552b7c4a52a79804080bb3e8b905a17d06a3f89380fc30da2df729a30e2", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 3 lasts two quarter beats in printed cut time; retained without padding (zoom-104.png, detail-104.png)." ] } ], "sha256": "5844982fe41417c558d74c25af8996d32397406a0e653d31f858cad5e1e62b98" }, { "id": "ex-105", "kind": "music", "path": "assets/reflow/ex-105.png", "dimensions_pixels": [ 1600, 950 ], "description": "Ex. 105 · Allegretto. Dvořák, Dance.", "source_label": "Example 105 · page 62", "source_pdf": { "path": "source/pdf/book.pdf", "page": 77 }, "continuations": [], "pdf_page": 77, "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "source_image": "source-pages/p-077.jpg", "printed_page": 62, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-105.musicxml", "label": "Ex. 105 · Allegretto. Dvořák, Dance.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "5fbf92a0ad685ebbcc12ce2a94817d6f759118104971f2516e5499110d2b2997", "sourceVerifiedSha256": "5fbf92a0ad685ebbcc12ce2a94817d6f759118104971f2516e5499110d2b2997", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ] } ], "sha256": "4e0170c56af9fd6ec90018e51d6e901f147cc85d06451a0e82be9ee5f93fb188" }, { "id": "fig-077-1", "kind": "image", "path": "assets/reflow/fig-077-1.png", "dimensions_pixels": [ 933, 136 ], "description": "The signs as printed: V with bracket flat 3 below; V with subscript 7 and bracket flat 3 below; small VII with superscript ° and bracket flat 3 below; etc.", "source_label": "Example · page 62", "source_pdf": { "path": "source/pdf/book.pdf", "page": 77 }, "continuations": [], "pdf_page": 77, "sources": [ { "pdf_page": 77, "source_image": "source-pages/p-077.jpg", "printed_page": 62 } ], "source_image": "source-pages/p-077.jpg", "printed_page": 62, "music_transcription_status": "non-music", "alt": "The signs as printed: V with bracket flat 3 below; V with subscript 7 and bracket flat 3 below; small VII with superscript ° and bracket flat 3 below; etc.", "sha256": "850f6a16113079b09a398f20520a1bc6aa24050730d87bccc28e5daa83030cc4" }, { "id": "ex-106", "kind": "music", "path": "assets/reflow/ex-106.png", "dimensions_pixels": [ 1600, 980 ], "description": "Ex. 106 · Presto. Cramer, Etude.", "source_label": "Example 106 · page 63", "source_pdf": { "path": "source/pdf/book.pdf", "page": 78 }, "continuations": [], "pdf_page": 78, "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 } ], "source_image": "source-pages/p-078.jpg", "printed_page": 63, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-106.musicxml", "label": "Ex. 106 · Presto. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "9e7fc97e2c2096c0cd2babf644e2e4d96b5f1b6ba2c47095ed52e5012dbf459e", "sourceVerifiedSha256": "9e7fc97e2c2096c0cd2babf644e2e4d96b5f1b6ba2c47095ed52e5012dbf459e", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 4 is a short ending of four eighth notes, retained as printed (zoom-106.png)." ] } ], "sha256": "fcb3a142d49dac05828a502bcfd47d6682de3673d7701a588ccf8a40aa1518cb" }, { "id": "ex-107", "kind": "music", "path": "assets/reflow/ex-107.png", "dimensions_pixels": [ 1600, 416 ], "description": "Ex. 107 · Allegro con brio. Beethoven, Op. 10.", "source_label": "Example 107 · page 63", "source_pdf": { "path": "source/pdf/book.pdf", "page": 78 }, "continuations": [ { "path": "assets/reflow/ex-107-p2.png", "dimensions_pixels": [ 1600, 776 ] } ], "pdf_page": 78, "sources": [ { "pdf_page": 78, "source_image": "source-pages/p-078.jpg", "printed_page": 63 }, { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "source_image": "source-pages/p-078.jpg", "printed_page": 63, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-107.musicxml", "label": "Ex. 107 · Allegro con brio. Beethoven, Op. 10.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "70e3009cce15de9982a73ac9f8a3a5b27aea379efebcdd5588b15c6cf7527ffa", "sourceVerifiedSha256": "70e3009cce15de9982a73ac9f8a3a5b27aea379efebcdd5588b15c6cf7527ffa", "printed_systems": [ { "bars": 4 }, { "bars": 4 }, { "bars": 5 } ] } ], "sha256": "8193864f05e173bcc2e9dce8705e584194240dba0b7eff680418d769d451bd51" }, { "id": "ex-108", "kind": "music", "path": "assets/reflow/ex-108.png", "dimensions_pixels": [ 1600, 483 ], "description": "Ex. 108 · Allegro molto vivace. Grieg, Violin Sonata.", "source_label": "Example 108 · page 64", "source_pdf": { "path": "source/pdf/book.pdf", "page": 79 }, "continuations": [], "pdf_page": 79, "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "source_image": "source-pages/p-079.jpg", "printed_page": 64, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-108.musicxml", "label": "Ex. 108 · Allegro molto vivace. Grieg, Violin Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6ebd9a79bc1741eee3734f66380d2189df850d74b86a3ffc924a240f2d163780", "sourceVerifiedSha256": "6ebd9a79bc1741eee3734f66380d2189df850d74b86a3ffc924a240f2d163780", "printed_systems": [ { "bars": 9 } ], "issues": [ "Bar 8, bass beat 2: upper F3/G3 dyad has an eighth flag, while G2 has a separate down-stem quarter; encoded as separate voices without adding rests. Upper voice ends an eighth early (detail-108.png).", "Bar 1 is an eighth pickup; bar 9 is a quarter-note ending, retained without padding (zoom-108.png)." ] } ], "sha256": "3d982f4d62bc865145003396a41bf3b65d399f02f994a865562d09a52b502c97" }, { "id": "ex-109", "kind": "music", "path": "assets/reflow/ex-109.png", "dimensions_pixels": [ 1045, 464 ], "description": "Ex. 109 · Allegro maestoso. Liszt, Concerto.", "source_label": "Example 109 · page 64", "source_pdf": { "path": "source/pdf/book.pdf", "page": 79 }, "continuations": [], "pdf_page": 79, "sources": [ { "pdf_page": 79, "source_image": "source-pages/p-079.jpg", "printed_page": 64 } ], "source_image": "source-pages/p-079.jpg", "printed_page": 64, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-109.musicxml", "label": "Ex. 109 · Allegro maestoso. Liszt, Concerto.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8f62d5df8ffe75702853c0d545b81e6a321ecc9348fe21467e9740d270959f3a", "sourceVerifiedSha256": "8f62d5df8ffe75702853c0d545b81e6a321ecc9348fe21467e9740d270959f3a", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bars 1 and 3 contain one quarter each; preserved short bars." ] } ], "sha256": "8cc3b16e6f3aa4a084c4013cf1652c359e179f84a77afc551335ea26e8a82d34" }, { "id": "ex-110", "kind": "music", "path": "assets/reflow/ex-110.png", "dimensions_pixels": [ 1600, 1145 ], "description": "Ex. 110 · Andante. Wagner, Walküre.", "source_label": "Example 110 · page 66", "source_pdf": { "path": "source/pdf/book.pdf", "page": 81 }, "continuations": [], "pdf_page": 81, "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_page": 66 } ], "source_image": "source-pages/p-081.jpg", "printed_page": 66, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-110.musicxml", "label": "Ex. 110 · Andante. Wagner, Walküre.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "89275840e4b77c2cf51851ab7814452ca5f496f70aa283ed65289323b32d4785", "sourceVerifiedSha256": "89275840e4b77c2cf51851ab7814452ca5f496f70aa283ed65289323b32d4785", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 9 is a single quarter; preserved without padding." ] } ], "sha256": "c6b723cd310767ec9344a761bd472eeb7b7ff222549715d949b2a1c2d7b3306a" }, { "id": "ex-111", "kind": "music", "path": "assets/reflow/ex-111.png", "dimensions_pixels": [ 1600, 1066 ], "description": "Ex. 111 · Allegro vivace. Godard, Violin Sonata.", "source_label": "Example 111 · page 66", "source_pdf": { "path": "source/pdf/book.pdf", "page": 81 }, "continuations": [], "pdf_page": 81, "sources": [ { "pdf_page": 81, "source_image": "source-pages/p-081.jpg", "printed_page": 66 } ], "source_image": "source-pages/p-081.jpg", "printed_page": 66, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-111.musicxml", "label": "Ex. 111 · Allegro vivace. Godard, Violin Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1bb7a27296bc46eeb1dc9a824096398f7cdd7d96019663aa9108fc275b3f0be1", "sourceVerifiedSha256": "1bb7a27296bc46eeb1dc9a824096398f7cdd7d96019663aa9108fc275b3f0be1", "printed_systems": [ { "bars": 2 }, { "bars": 4 } ], "issues": [ "Bar 2 beat 2: ambiguous shared D4 notehead with an upward stem continuing down toward the upper bass chord. Read as one shared quarter-note attack, encoded once on staff 1; removed duplicate cross-staff D4. Alternative: doubled unison in two voices. Reviewed at 3x in RV-029/111-d4.png.", "Bar 2 beats 3–4 and bars 3–6: treble blank after simili; no inferred notes or rests. Bar 6 contains one eighth." ] } ], "sha256": "b83bc54c9549d984dfe8e39324225b91504789127b0850b6a6d04c73fb3c3fe2" }, { "id": "ex-112", "kind": "music", "path": "assets/reflow/ex-112.png", "dimensions_pixels": [ 1600, 1679 ], "description": "Ex. 112 · Tempo di marcia. Bizet, L’Arlésienne.", "source_label": "Example 112 · page 67", "source_pdf": { "path": "source/pdf/book.pdf", "page": 82 }, "continuations": [], "pdf_page": 82, "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "source_image": "source-pages/p-082.jpg", "printed_page": 67, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-112.musicxml", "label": "Ex. 112 · Tempo di marcia. Bizet, L’Arlésienne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1a4394cb8ee9f9194804b398a5318725c52781966ffdc4ba41b62a4b62a0f44d", "sourceVerifiedSha256": "1a4394cb8ee9f9194804b398a5318725c52781966ffdc4ba41b62a4b62a0f44d", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 1 and bar 6 contain two quarters each; preserved.", "Bar 2 beat 4 third sixteenth: bass F2 notehead appears hollow although double-beamed. Chosen sixteenth from beam; not half. Zoom 112-1." ] } ], "sha256": "910745b02bd8e6f06f37124da4101f95dc58f64fc72b870150a17444b0bae2a2" }, { "id": "ex-113", "kind": "music", "path": "assets/reflow/ex-113.png", "dimensions_pixels": [ 1600, 535 ], "description": "Ex. 113 · Allegro molto. Wagner, Tristan.", "source_label": "Example 113 · page 67", "source_pdf": { "path": "source/pdf/book.pdf", "page": 82 }, "continuations": [], "pdf_page": 82, "sources": [ { "pdf_page": 82, "source_image": "source-pages/p-082.jpg", "printed_page": 67 } ], "source_image": "source-pages/p-082.jpg", "printed_page": 67, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-113.musicxml", "label": "Ex. 113 · Allegro molto. Wagner, Tristan.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "94e446512f6517c5b9956f484b0190ff69f559e28a0fd6f404098315f6dc2ddf", "sourceVerifiedSha256": "94e446512f6517c5b9956f484b0190ff69f559e28a0fd6f404098315f6dc2ddf", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 3 contains one quarter; preserved." ] } ], "sha256": "edce348952bbf12c9ade42312a06b107e01c7197c4697c060de9f19a343cf10f" }, { "id": "ex-114", "kind": "music", "path": "assets/reflow/ex-114.png", "dimensions_pixels": [ 1600, 2289 ], "description": "Ex. 114 · Alla Polacca. Hummel, Polonaise.", "source_label": "Example 114 · page 69", "source_pdf": { "path": "source/pdf/book.pdf", "page": 84 }, "continuations": [], "pdf_page": 84, "sources": [ { "pdf_page": 84, "source_image": "source-pages/p-084.jpg", "printed_page": 69 } ], "source_image": "source-pages/p-084.jpg", "printed_page": 69, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-114.musicxml", "label": "Ex. 114 · Alla Polacca. Hummel, Polonaise.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "294ae871ff448b4b59425b775aa2d11f3d8d1c2e5e6eac04049027b8f82d02d1", "sourceVerifiedSha256": "294ae871ff448b4b59425b775aa2d11f3d8d1c2e5e6eac04049027b8f82d02d1", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 9 lasts one eighth, as printed. Shared heads with separate quarter-note stems in bars 1–2 and 7–8 are separate voices; shared accidental signs are repeated where needed to encode both voices. Zooms 114-1 through 114-4 and 114-detail/end used." ] } ], "sha256": "b3b77d802670de33423980ff601bec6c2ed90f0f0773c78f93968d9ffbae60be" }, { "id": "ex-115", "kind": "music", "path": "assets/reflow/ex-115.png", "dimensions_pixels": [ 1600, 939 ], "description": "Ex. 115 · Allegro brillante. Cramer, Etude.", "source_label": "Example 115 · page 70", "source_pdf": { "path": "source/pdf/book.pdf", "page": 85 }, "continuations": [], "pdf_page": 85, "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "source_image": "source-pages/p-085.jpg", "printed_page": 70, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-115.musicxml", "label": "Ex. 115 · Allegro brillante. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "b3e64a069c8e670b124da879753738f28dbd3066ce64bac2f34af9597e555e8d", "sourceVerifiedSha256": "b3e64a069c8e670b124da879753738f28dbd3066ce64bac2f34af9597e555e8d", "printed_systems": [ { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 1 begins with a treble clef immediately replaced by bass on the upper staff; both clefs encoded, bass effective for notes. Lower staff changes bass to treble before its fourth eighth. Bar 5 has six sixteenths above but an eighth note and two eighth rests below (3/8); preserved without padding. Zooms 115-1/2.", "Rendering limitation: MusicXML preserves the initial upper treble-to-bass change before note 1, but Verovio ignores the second attributes block at that position and displays bar 1 under treble. Written pitches remain the bass-clef reading from zoom 115-1." ] } ], "sha256": "9aab537b6bb280a04254f3893057456160b9a39c40c5bb4d9a1d9b08010d36d6" }, { "id": "ex-116", "kind": "music", "path": "assets/reflow/ex-116.png", "dimensions_pixels": [ 1600, 471 ], "description": "Ex. 116 · Allegro. Cramer, Etude.", "source_label": "Example 116 · page 70", "source_pdf": { "path": "source/pdf/book.pdf", "page": 85 }, "continuations": [], "pdf_page": 85, "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "source_image": "source-pages/p-085.jpg", "printed_page": 70, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-116.musicxml", "label": "Ex. 116 · Allegro. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0153ba0ab20f12cd1eb26bf226c3c766352ed7ecc5c797a8abaea482c638d875", "sourceVerifiedSha256": "0153ba0ab20f12cd1eb26bf226c3c766352ed7ecc5c797a8abaea482c638d875", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 3 lasts 3/8, as printed. Opening arpeggiated half-note chords and sixteenth rests verified in zoom 116-1." ] } ], "sha256": "93e76f197132d9727dd87b23ffab516de12aeff1a82a7daa10bd80fb25aed218" }, { "id": "ex-117", "kind": "music", "path": "assets/reflow/ex-117.png", "dimensions_pixels": [ 1600, 817 ], "description": "Ex. 117 · Energico ma non troppo Allegro. Sinding, Violin Suite.", "source_label": "Example 117 · page 70", "source_pdf": { "path": "source/pdf/book.pdf", "page": 85 }, "continuations": [], "pdf_page": 85, "sources": [ { "pdf_page": 85, "source_image": "source-pages/p-085.jpg", "printed_page": 70 } ], "source_image": "source-pages/p-085.jpg", "printed_page": 70, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-117.musicxml", "label": "Ex. 117 · Energico ma non troppo Allegro. Sinding, Violin Suite.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "81f63858a64d82dfaac974aea457d2277b799ac09cc1813f890dfe6a4d854fbf", "sourceVerifiedSha256": "81f63858a64d82dfaac974aea457d2277b799ac09cc1813f890dfe6a4d854fbf", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bars 1 and 8 each contain one half-note event per staff; retained as short bars. Chromatic signs and ledger notes checked in zooms 117-1/2." ] } ], "sha256": "d4dd9a7057e128f4d355b333971a1f839d25c78b776e0c06d174b5f0d13640ea" }, { "id": "ex-118", "kind": "music", "path": "assets/reflow/ex-118.png", "dimensions_pixels": [ 1600, 934 ], "description": "Ex. 118 · Allegro. Cramer, Etude.", "source_label": "Example 118 · page 71", "source_pdf": { "path": "source/pdf/book.pdf", "page": 86 }, "continuations": [], "pdf_page": 86, "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 } ], "source_image": "source-pages/p-086.jpg", "printed_page": 71, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-118.musicxml", "label": "Ex. 118 · Allegro. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "0d872ada1a9e550a10ba12abd5f828006092c9bd2b3a1eb1110c5db7c7dcf1b3", "sourceVerifiedSha256": "0d872ada1a9e550a10ba12abd5f828006092c9bd2b3a1eb1110c5db7c7dcf1b3", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 1 lasts 3/4 despite printed common time; bar 4 lasts 5/16. Bar 3 quarter-note countervoices begin on beat 2 on both staves; shared heads/signs encoded separately. Bar 4 upper G4 has both quarter and sixteenth stems. Zooms 118-1/2." ] } ], "sha256": "2c65b8368d46bb6a858e77641aae1727ca1b113346e917b17198ddf850d8ca65" }, { "id": "ex-119", "kind": "music", "path": "assets/reflow/ex-119.png", "dimensions_pixels": [ 1600, 570 ], "description": "Ex. 119 · Allegro. Wagner, Götterdämmerung.", "source_label": "Example 119 · page 71", "source_pdf": { "path": "source/pdf/book.pdf", "page": 86 }, "continuations": [ { "path": "assets/reflow/ex-119-p2.png", "dimensions_pixels": [ 1600, 2213 ] } ], "pdf_page": 86, "sources": [ { "pdf_page": 86, "source_image": "source-pages/p-086.jpg", "printed_page": 71 }, { "pdf_page": 87, "source_image": "source-pages/p-087.jpg", "printed_page": 72 } ], "source_image": "source-pages/p-086.jpg", "printed_page": 71, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-119.musicxml", "label": "Ex. 119 · Allegro. Wagner, Götterdämmerung.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "48de1baf4add474d62f8b53004030b95620439486e4d3e4b81ae1acb9d3dfd4a", "sourceVerifiedSha256": "48de1baf4add474d62f8b53004030b95620439486e4d3e4b81ae1acb9d3dfd4a", "printed_systems": [ { "bars": 3 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 4 beats 1 and 3: eighth followed by three triplet sixteenths; the 3 applies to the three shorter notes. Confirmed at 3x in ex-119-p2-detail.png.", "Bar 7 sustained upper chord and bass G-sharp2 are printed stemless with long ties: read as whole notes, tied into bar 8.", "Bar 10 beat 4: sextuplet alternates between staves; retained as one cross-staff voice.", "Bar 12: short quarter-beat-pair ending (one quarter total) retained." ] } ], "sha256": "db30f833598a68ba8b314a25973fbdcbce34172b45f4fa951c33df6f32e3bec7" }, { "id": "ex-120", "kind": "music", "path": "assets/reflow/ex-120.png", "dimensions_pixels": [ 1600, 1046 ], "description": "Ex. 120 · Presto. Wagner, Tristan.", "source_label": "Example 120 · page 74", "source_pdf": { "path": "source/pdf/book.pdf", "page": 89 }, "continuations": [], "pdf_page": 89, "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "source_image": "source-pages/p-089.jpg", "printed_page": 74, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-120.musicxml", "label": "Ex. 120 · Presto. Wagner, Tristan.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4e684ddb1caa9cba8e0fe56ed9fd3edb6a717ea6f88bda64a865252dc0d9e0e7", "sourceVerifiedSha256": "4e684ddb1caa9cba8e0fe56ed9fd3edb6a717ea6f88bda64a865252dc0d9e0e7", "printed_systems": [ { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bar 5, second half: parenthesized D-flat3 is an alternative to C-sharp3; retained as a simultaneous separate voice, since its printed half-note duration does not fit as a following event. Parentheses preserved on the alternative notehead." ] } ], "sha256": "cefbc7a3d2d283f9c230a8f9344c95b3268bb61f953337e3b6a5b7be763b080a" }, { "id": "ex-121", "kind": "music", "path": "assets/reflow/ex-121.png", "dimensions_pixels": [ 1600, 529 ], "description": "Ex. 121 · Schumann, Op. 12.", "source_label": "Example 121 · page 74", "source_pdf": { "path": "source/pdf/book.pdf", "page": 89 }, "continuations": [], "pdf_page": 89, "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "source_image": "source-pages/p-089.jpg", "printed_page": 74, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-121.musicxml", "label": "Ex. 121 · Schumann, Op. 12.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "eb612c80a363a427e727232f6dd34133e30e6ea7820ccdefe00cd3d0885ba682", "sourceVerifiedSha256": "eb612c80a363a427e727232f6dd34133e30e6ea7820ccdefe00cd3d0885ba682", "printed_systems": [ { "bars": 6 } ], "issues": [ "Bars 3–6: blank treble preserved without rests. Four printed quarter-note attacks in bars 3–5 and quarter/half/quarter in bar 6 exceed printed 2/4; retained note values, interleaving upper and lower stems using forward gaps. Alternative eighth-note interpretation rejected because no beams or flags are printed; ex-121-detail.png, 3x.", "Bars 3–4 beat 3: natural-flat sign before G3 retained as the printed compound accidental (G-flat3); ex-121-detail.png, 3x.", "Bar 5–6: C4-to-A3 arc is a slur across voices, while G3 and E3 are ties. A2 arc to D-flat3 is also a slur; these pitch-changing arcs are not encoded as ties.", "RV-bars bar 3: Four successive quarter-note dyads, alternating up/down stems; no beams or flags. printed irregularity: Four quarters despite 2/4; upper voice last attack ends at 3, lower at 4. ex-121-detail-1-3x.png.", "RV-bars bar 4: Four successive quarter-note dyads, alternating up/down stems; no beams or flags. printed irregularity: Same four-quarter span as bar 3. ex-121-detail-1-3x.png.", "RV-bars bar 5: Four successive quarter-note chord attacks; final lower chord ties onward. printed irregularity: Retain four-quarter span against 2/4. ex-121-detail-1-3x.png." ] } ], "sha256": "f60a2ff97154e8a548b7530aa6960a63e8510e82b5cc14dc14b2088a710dc9b6" }, { "id": "ex-122", "kind": "music", "path": "assets/reflow/ex-122.png", "dimensions_pixels": [ 1600, 511 ], "description": "Ex. 122 · Moderato e ritenuto. Wagner, Tristan.", "source_label": "Example 122 · page 74", "source_pdf": { "path": "source/pdf/book.pdf", "page": 89 }, "continuations": [], "pdf_page": 89, "sources": [ { "pdf_page": 89, "source_image": "source-pages/p-089.jpg", "printed_page": 74 } ], "source_image": "source-pages/p-089.jpg", "printed_page": 74, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-122.musicxml", "label": "Ex. 122 · Moderato e ritenuto. Wagner, Tristan.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "e3f1ea0de252fc75dbe32080475f021d2592595b66921f92e999efed208196b1", "sourceVerifiedSha256": "e3f1ea0de252fc75dbe32080475f021d2592595b66921f92e999efed208196b1", "printed_systems": [ { "bars": 4 } ], "issues": [ "Paired tremolo notes retain printed half/quarter values with 2:1 duration scaling; three tremolo strokes preserved. Bar 4 is a short two-beat ending.", "Bar 2 bass lower voice contains only tied half and eighth; remaining silence is left unfilled." ] } ], "sha256": "0c2ad791759f9f670dd6557849d0bc8ecfe261c3150e7c1db40bc3e045496876" }, { "id": "ex-123", "kind": "music", "path": "assets/reflow/ex-123.png", "dimensions_pixels": [ 1600, 460 ], "description": "Ex. 123 · Poco lento. Dvořák, Requiem.", "source_label": "Example 123 · page 75", "source_pdf": { "path": "source/pdf/book.pdf", "page": 90 }, "continuations": [], "pdf_page": 90, "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "source_image": "source-pages/p-090.jpg", "printed_page": 75, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-123.musicxml", "label": "Ex. 123 · Poco lento. Dvořák, Requiem.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "c15e2f89e213c8e333f0c7fdba244183622b28ae65f803ad395a0bffc7f222f0", "sourceVerifiedSha256": "c15e2f89e213c8e333f0c7fdba244183622b28ae65f803ad395a0bffc7f222f0", "printed_systems": [ { "bars": 6 } ], "issues": [ "RV-033, bars 5–6: stemless heads are whole notes followed by final quarters. Outer arcs at F4, F5 and B-flat3 could be slurs; chosen as ties between identical repeated pitches, alongside the inner ties. Verified ex-123-detail-1.png (3x)." ] } ], "sha256": "8b0a51331b8aff45b81bf4ed2adc9f86b984f8b066f434eb97f5570240479149" }, { "id": "ex-124", "kind": "music", "path": "assets/reflow/ex-124.png", "dimensions_pixels": [ 1600, 818 ], "description": "Ex. 124 · Andante. Ibid.", "source_label": "Example 124 · page 75", "source_pdf": { "path": "source/pdf/book.pdf", "page": 90 }, "continuations": [], "pdf_page": 90, "sources": [ { "pdf_page": 90, "source_image": "source-pages/p-090.jpg", "printed_page": 75 } ], "source_image": "source-pages/p-090.jpg", "printed_page": 75, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-124.musicxml", "label": "Ex. 124 · Andante. Ibid.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6a9ff7c7d4af21811d10a81e633db332dc2317042cde7f0b5896588abfe227f4", "sourceVerifiedSha256": "6a9ff7c7d4af21811d10a81e633db332dc2317042cde7f0b5896588abfe227f4", "printed_systems": [ { "bars": 5 }, { "bars": 5 } ], "issues": [ "Bars 1–9: pale printing largely erases stems. Stemless long notes read as whole notes (dotted whole where dotted), surviving stems as half notes; verified in 2× system crops and 3× detail crops.", "Bar 6 beat 3: F3 has an independent up stem beside down-stem D3; retained as separate voice. Diagonal voice-leading guides from bar 1 to 2 and within bar 6 omitted.", "Bar 8: B3 and A3 are dotted whole notes; E4 whole plus half and E2 whole tied to quarter then F2 quarter form separate voices.", "Bar 10: final quarter-note chords leave the last 3/2 measure short; no rests added." ] } ], "sha256": "6a17a66572c6c476312fbbcd756deedf8cedb82106f3b9693e120ffb1ef7af55" }, { "id": "ex-125", "kind": "music", "path": "assets/reflow/ex-125.png", "dimensions_pixels": [ 1600, 869 ], "description": "Ex. 125 · Con moto. Cramer, Etude.", "source_label": "Example 125 · page 76", "source_pdf": { "path": "source/pdf/book.pdf", "page": 91 }, "continuations": [], "pdf_page": 91, "sources": [ { "pdf_page": 91, "source_image": "source-pages/p-091.jpg", "printed_page": 76 } ], "source_image": "source-pages/p-091.jpg", "printed_page": 76, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-125.musicxml", "label": "Ex. 125 · Con moto. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "71713ae62c185e034aee3af0979c80474865a8d8233900c514c4b0d8e6745799", "sourceVerifiedSha256": "71713ae62c185e034aee3af0979c80474865a8d8233900c514c4b0d8e6745799", "printed_systems": [ { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 4 beat 3, bass G2: hollow-looking head beneath beam read as an eighth note; beam and spacing checked at 2×.", "Bar 5 contains only a final eighth note on each staff; no rests added." ] } ], "sha256": "b9321bb74677804a05f7289fca8b46011141f9c0a248628cb241870841ea71d0" }, { "id": "ex-126", "kind": "music", "path": "assets/reflow/ex-126.png", "dimensions_pixels": [ 1600, 866 ], "description": "Ex. 126 · Moderato. Cramer, Etude.", "source_label": "Example 126 · page 77", "source_pdf": { "path": "source/pdf/book.pdf", "page": 92 }, "continuations": [], "pdf_page": 92, "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "source_image": "source-pages/p-092.jpg", "printed_page": 77, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-126.musicxml", "label": "Ex. 126 · Moderato. Cramer, Etude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8ad6211dd36f929633ef312cb1a7d4c8ed6abe7e5ecc4f79196e24d1af2d2a7b", "sourceVerifiedSha256": "8ad6211dd36f929633ef312cb1a7d4c8ed6abe7e5ecc4f79196e24d1af2d2a7b", "printed_systems": [ { "bars": 3 }, { "bars": 3 } ], "issues": [ "Bars 2–3: displaced inner half-note heads read as simultaneous with the opening melody note, not delayed an eighth. Alternatives are delayed entrances; chosen simultaneous reading from overlapping-stem layout. 2× zooms 1–2.", "Bars 2–4 and 6: bass heads with both eighth and quarter stems encoded in separate moving and sustained voices; unprinted gaps remain empty (forward), not rests. Bar 3, beat 4 also has a separate G4 eighth stem in voice 3. 2× zoom 1.", "Bar 6 ends after three moving eighths / dotted-quarter melody; inner E5 is printed half, retained despite exceeding the other voices by an eighth. 2× zoom 2." ] } ], "sha256": "8059c3b74a4e3430782e88ac068d0e509dee890faf2385ae201169601b2dcd5f" }, { "id": "ex-127", "kind": "music", "path": "assets/reflow/ex-127.png", "dimensions_pixels": [ 1600, 928 ], "description": "Ex. 127 · Molto Allegro. Chopin, Prelude.", "source_label": "Example 127 · page 77", "source_pdf": { "path": "source/pdf/book.pdf", "page": 92 }, "continuations": [], "pdf_page": 92, "sources": [ { "pdf_page": 92, "source_image": "source-pages/p-092.jpg", "printed_page": 77 } ], "source_image": "source-pages/p-092.jpg", "printed_page": 77, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-127.musicxml", "label": "Ex. 127 · Molto Allegro. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "14df112f9ef1817d59f506c74937456bb01b6d3cf4f253d499ee00d41137f9a9", "sourceVerifiedSha256": "14df112f9ef1817d59f506c74937456bb01b6d3cf4f253d499ee00d41137f9a9", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 9 is a two-sixteenth fragment, retained without padding; courtesy A-natural in treble. Both 2× zooms inspected." ] } ], "sha256": "4b5dee0de8a9745e753821c54a4e5cf825d38c2e15e0ba4abbbbe5e4a1f17f55" }, { "id": "ex-128", "kind": "music", "path": "assets/reflow/ex-128.png", "dimensions_pixels": [ 1600, 1008 ], "description": "Ex. 128 · Animato. Chopin, Nocturne.", "source_label": "Example 128 · page 78", "source_pdf": { "path": "source/pdf/book.pdf", "page": 93 }, "continuations": [], "pdf_page": 93, "sources": [ { "pdf_page": 93, "source_image": "source-pages/p-093.jpg", "printed_page": 78 } ], "source_image": "source-pages/p-093.jpg", "printed_page": 78, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-128.musicxml", "label": "Ex. 128 · Animato. Chopin, Nocturne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8ccd16c80cc6653b1f1cdb0f1842ec36594da9ca25f533bf3c5cc654ff74efad", "sourceVerifiedSha256": "8ccd16c80cc6653b1f1cdb0f1842ec36594da9ca25f533bf3c5cc654ff74efad", "printed_systems": [ { "bars": 4 }, { "bars": 1 } ], "issues": [ "RV-035: bar 3 F♯5 shares the final up-stem chord at onset 2; inner D♯5 half overlaps it. Bar 4 whole-bar rest is backed up before the bass entrance.", "RV-035: bar 4 run preserves printed C3-natural/C4-sharp, F2-natural/F3-sharp, and final F1-sharp/F2-natural. The lower A1 hollow head appears stemless and broader than A2: choose A1 whole against A2 half; worn/shared-stem half remains possible (ex-128-detail-2.png).", "RV-bars bar 4: Extended unbarred bass octave run continues across system break under blank/resting treble. printed irregularity: Cadenza-like span, not missing barlines to invent; retain 20.5-quarter cursor span. ex-128-detail-1/2-3x.png." ] } ], "sha256": "11b6dd7658f8b603e6774154c1333edfe8329f031da33ad87d1886c01e7bb3db" }, { "id": "ex-129", "kind": "music", "path": "assets/reflow/ex-129.png", "dimensions_pixels": [ 1600, 1109 ], "description": "Ex. 129 · Allegro. Beethoven, Op. 10.", "source_label": "Example 129 · page 79", "source_pdf": { "path": "source/pdf/book.pdf", "page": 94 }, "continuations": [], "pdf_page": 94, "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 } ], "source_image": "source-pages/p-094.jpg", "printed_page": 79, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-129.musicxml", "label": "Ex. 129 · Allegro. Beethoven, Op. 10.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4e4ef69eea04684947d17fc8b585bf783a01a95679cb3b6bcdcaed249210fb70", "sourceVerifiedSha256": "4e4ef69eea04684947d17fc8b585bf783a01a95679cb3b6bcdcaed249210fb70", "printed_systems": [ { "bars": 4 }, { "bars": 3 } ], "issues": [ "Bar 7 treble D4 moves to C-sharp4, so only A3 and G4 tie; bass three tones tie. Final dotted quarters leave a 7/8 bar after the opening eighth pickup. 2× zoom 2." ] } ], "sha256": "e5df98af7d63b9747137b50f202c2c8df9c6a45e10c1a65b6d3d100135d27988" }, { "id": "ex-130", "kind": "music", "path": "assets/reflow/ex-130.png", "dimensions_pixels": [ 1600, 1091 ], "description": "Ex. 130 · Allegretto. Chopin, Nocturne.", "source_label": "Example 130 · page 79", "source_pdf": { "path": "source/pdf/book.pdf", "page": 94 }, "continuations": [ { "path": "assets/reflow/ex-130-p2.png", "dimensions_pixels": [ 1600, 433 ] } ], "pdf_page": 94, "sources": [ { "pdf_page": 94, "source_image": "source-pages/p-094.jpg", "printed_page": 79 }, { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "source_image": "source-pages/p-094.jpg", "printed_page": 79, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-130.musicxml", "label": "Ex. 130 · Allegretto. Chopin, Nocturne.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "87b3554f11a646cce061eb2f91bc14d80519c75ad73addc2953e0a756ca30fa9", "sourceVerifiedSha256": "87b3554f11a646cce061eb2f91bc14d80519c75ad73addc2953e0a756ca30fa9", "printed_systems": [ { "bars": 1 }, { "bars": 1 } ], "issues": [ "Bar 1 crosses all three printed systems without internal barlines; bar 2 is the final eighth. Actual system-start counts are [1,0,1]. Converter forbids zero-bar printed_systems entries, so its middle continuation entry is omitted; full counts are additionally stored as printed_systems_including_continuations. No barline was invented. All 2× and 3× source details inspected.", "Bar 1, after the two sixteenth groups on system 1: two double-stroke repeat abbreviations have no noteheads. Preserved as words “// //”, not expanded; scope/duration of shorthand unresolved. 3× detail 2.", "Bar 1, system 2 bass entrance: four arpeggiated sixteenths tie individually into a five-note dotted-half chord (F2 C3 F3 A3 E4). Read at enlarged bass crop. Blank spans encoded as forwards, not fabricated rests.", "Bar 1, octave line: starts at first E5 sixteenth (sounding E6) on system 1; stops before the F5/A5 chord on continuation page. Dotted continuation is meaningful octave notation, represented by octave-shift direction. End location inferred from the last printed dots; alternative is extension farther into the page. 3× continuation details 1–2.", "Bar 1 closing figure: upper E5 eighth plus two sixteenths totals one quarter; lower three sixteenths plus dotted-sixteenth and 32nd totals five sixteenths. Durations retained, leaving unequal voice endpoints. 3× continuation detail 3.", "Bar 2 treble lower note D4 (below staff), upper B4; bass B2/F3 with F3 tie from previous eighth. 3× continuation detail 3.", "RV-035: two double-stroke repeat symbols retained literally as // //; their scope is ambiguous. No repeated pitches invented. The one-quarter forward allows the four printed bass sixteenths before the second-system treble entrance; shorthand duration is not expanded. Source: ex-130-detail-0.png, ex-130-detail-1.png.", "RV-035: continuation-page third group begins F♯5, not F-natural (130-s3.png). Five-sharp signature confirmed; second-system accidentals checked in 130-s2a.png and 130-s2b.png." ] } ], "sha256": "73c38b5bc6ab6642bfe72be87d3086c5f812882964e5bc58a06baeb9a6f38f49" }, { "id": "ex-131", "kind": "music", "path": "assets/reflow/ex-131.png", "dimensions_pixels": [ 1600, 1022 ], "description": "Ex. 131 · Molto allegro. Chopin, Prelude.", "source_label": "Example 131 · page 80", "source_pdf": { "path": "source/pdf/book.pdf", "page": 95 }, "continuations": [], "pdf_page": 95, "sources": [ { "pdf_page": 95, "source_image": "source-pages/p-095.jpg", "printed_page": 80 } ], "source_image": "source-pages/p-095.jpg", "printed_page": 80, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-131.musicxml", "label": "Ex. 131 · Molto allegro. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "15e0b3f83011c06d1d78be86afca2d00b1811871bdc378c31f8fb9160f39bf20", "sourceVerifiedSha256": "15e0b3f83011c06d1d78be86afca2d00b1811871bdc378c31f8fb9160f39bf20", "printed_systems": [ { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 1, beat 3: the upper B4 is dotted quarter; the lower treble voice begins with an eighth rest, then two C4/E4 dyads. No final rest is printed in that voice; forward positions its entry without inventing rests. Zoom 131-1.", "Bar 3: printed 22-note run encoded 22:16; lower staff shares the timing although its own tuplet number is not repeated. Zoom 131-2.", "Bar 4 contains two eighths only; retained as printed.", "RV-035: bar 2 has two quarter rests before ten sixteenths, totaling 4.5 quarters as printed; do not shorten the second rest to fit cut time.", "RV-bars bar 2: Two quarter rests followed by ten sixteenths in bass. printed irregularity: 4.5 quarters in cut time; both rest shapes clearly quarter rests. ex-131-3x.png." ] } ], "sha256": "f887e1746d3a4f40ce835271c29ce2ddb65ad80ecf548c88894d6a425a275fb5" }, { "id": "ex-132", "kind": "music", "path": "assets/reflow/ex-132.png", "dimensions_pixels": [ 1600, 2130 ], "description": "Ex. 132 · Allegro.", "source_label": "Example 132 · page 84", "source_pdf": { "path": "source/pdf/book.pdf", "page": 99 }, "continuations": [], "pdf_page": 99, "sources": [ { "pdf_page": 99, "source_image": "source-pages/p-099.jpg", "printed_page": 84 } ], "source_image": "source-pages/p-099.jpg", "printed_page": 84, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-132.musicxml", "label": "Ex. 132 · Allegro.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1e80c98086a20cdd9e80c3023bddf5b8766ccebb3d23b6905070cf0cb2c8fd33", "sourceVerifiedSha256": "1e80c98086a20cdd9e80c3023bddf5b8766ccebb3d23b6905070cf0cb2c8fd33", "printed_systems": [ { "bars": 5 }, { "bars": 4 }, { "bars": 4 }, { "bars": 6 }, { "bars": 4 } ], "issues": [ "Bars 2–5, 7–8, 13, and 23 contain shortened excerpts or incomplete voices; no missing rests supplied.", "Bar 10 (No. 13), third chord and bass note: no augmentation dots visible, unlike bars 11–12. Encoded eighths, making 8/16 against printed 9/16. Alternative dotted eighth rejected because dot is absent at 3× zoom (zoom-132-dots).", "RV-035: bars 22–23 bass symbols are E♯3 accidentals, not tremolo strokes; bar 13 has unflagged dotted quarters, despite surrounding 9/16 excerpts." ] } ], "sha256": "0cfa38a7d6d5bff719bc2fbd6381014e6c6630457259ef16cd266f2a271e4e7e" }, { "id": "ex-133", "kind": "music", "path": "assets/reflow/ex-133.png", "dimensions_pixels": [ 1600, 422 ], "description": "Ex. 133 · Andante. Franck, L’Organiste.", "source_label": "Example 133 · page 85", "source_pdf": { "path": "source/pdf/book.pdf", "page": 100 }, "continuations": [], "pdf_page": 100, "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "source_image": "source-pages/p-100.jpg", "printed_page": 85, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-133.musicxml", "label": "Ex. 133 · Andante. Franck, L’Organiste.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1e9ad302be91135655b31ae7af4d3373caf70002106793c1a1801f5e1b6cff2c", "sourceVerifiedSha256": "1e9ad302be91135655b31ae7af4d3373caf70002106793c1a1801f5e1b6cff2c", "printed_systems": [ { "bars": 3 } ], "issues": [ "Bar 2, final eighth: bass lower note bears a double flat (B♭♭3); read from zoom-133-2.", "Bar 3 is a quarter-note ending, retained without padding." ] } ], "sha256": "174343cbe2efa75ff51028a4e82a8e1648dcb8a8d1e5fac53fd5ece08844d563" }, { "id": "ex-134", "kind": "music", "path": "assets/reflow/ex-134.png", "dimensions_pixels": [ 1600, 909 ], "description": "Ex. 134 · Moderato. Schumann, Op. 15.", "source_label": "Example 134 · page 85", "source_pdf": { "path": "source/pdf/book.pdf", "page": 100 }, "continuations": [], "pdf_page": 100, "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "source_image": "source-pages/p-100.jpg", "printed_page": 85, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-134.musicxml", "label": "Ex. 134 · Moderato. Schumann, Op. 15.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "84f3603e5823db40a96fec4c43f6f127e08bacb40e4d7f36c84df9ffd4199669", "sourceVerifiedSha256": "84f3603e5823db40a96fec4c43f6f127e08bacb40e4d7f36c84df9ffd4199669", "printed_systems": [ { "bars": 5 }, { "bars": 6 } ], "issues": [ "Bar 3, last sixteenth F4 double sharp, and bass third sixteenth F3 double sharp; next bar F4 has no repeated sign, retained under the key signature. Zoom-134-1.", "Bar 8, bass: beamed sixteenths coexist with longer up-stem F4 and B3 notes on shared heads. Encoded as separate voices, with forward offsets and ties to bar 9. Zoom-134-2.", "Bar 11 reduction: lower treble D4 eighth begins beside the opening sixteenth D4; bass G3/B3 eighth retained. The excerpt ends before a complete 2/8 bar in these lower lines. Zoom-134-2." ] } ], "sha256": "e8f3286fc97cafed58627d4f9afe92b35c48d48d8a94156cff31122c473b03e3" }, { "id": "ex-135", "kind": "music", "path": "assets/reflow/ex-135.png", "dimensions_pixels": [ 1600, 837 ], "description": "Ex. 135 · Allegro. Wagner, Flying Dutchman.", "source_label": "Example 135 · page 85", "source_pdf": { "path": "source/pdf/book.pdf", "page": 100 }, "continuations": [], "pdf_page": 100, "sources": [ { "pdf_page": 100, "source_image": "source-pages/p-100.jpg", "printed_page": 85 } ], "source_image": "source-pages/p-100.jpg", "printed_page": 85, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-135.musicxml", "label": "Ex. 135 · Allegro. Wagner, Flying Dutchman.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "10021f80a4f3c0c4f2a2c642a3e720b3ea3e785ee46e6cbec6e7cda48b952d1e", "sourceVerifiedSha256": "10021f80a4f3c0c4f2a2c642a3e720b3ea3e785ee46e6cbec6e7cda48b952d1e", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 9 is a dotted-half ending in 6/4, retained without padding.", "RV-036 review: bar 3 bass has A-flat3 and B-natural3; bar 7 upper chord has E-flat5. Confirmed in ex-135-bars3-4-3x.png and ex-135-bar7-3x.png." ] } ], "sha256": "fe914e81871642155d126c1473aebf7c660e84a83b224466b85536da32bf0a77" }, { "id": "ex-136", "kind": "music", "path": "assets/reflow/ex-136.png", "dimensions_pixels": [ 1600, 2316 ], "description": "Ex. 136 · Piano agitato. Mendelssohn, Song without Words.", "source_label": "Example 136 · page 86", "source_pdf": { "path": "source/pdf/book.pdf", "page": 101 }, "continuations": [ { "path": "assets/reflow/ex-136-p2.png", "dimensions_pixels": [ 1600, 382 ] } ], "pdf_page": 101, "sources": [ { "pdf_page": 101, "source_image": "source-pages/p-101.jpg", "printed_page": 86 }, { "pdf_page": 102, "source_image": "source-pages/p-102.jpg", "printed_page": 87 } ], "source_image": "source-pages/p-101.jpg", "printed_page": 86, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-136.musicxml", "label": "Ex. 136 · Piano agitato. Mendelssohn, Song without Words.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "50bccf0a916c91ff7fc378b3ad4330cc4cb9d1d2a4fee1c45a9b5e4aa3720088", "sourceVerifiedSha256": "50bccf0a916c91ff7fc378b3ad4330cc4cb9d1d2a4fee1c45a9b5e4aa3720088", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 4 } ], "issues": [ "Bar 11, beat 4: upper C5 and bass chord are printed quarters, while the lower treble continues three eighths; retained unequal 4 versus 4.5 quarter-note spans and short 6/4 bar, without padding. Zoom ex-136-p2-full.png.", "Bar 12, beat 1: bass C4 has no visible stem (dotted whole), above two dotted-half A3 notes; encoded separate voices. Zoom ex-136-reduction.png.", "Bar 13, beat 1: bass B-sharp3 has an up stem and dot; encoded dotted half, with no invented rest after it. Lower voice has two dotted halves. Zoom ex-136-reduction.png.", "Bar 14 is a short final bar of dotted halves (3 quarters), retained. Zoom ex-136-reduction.png.", "RV-037: reduction bar 12 C#4 is a stemless dotted whole above the two dotted-half A3 notes; bar 13 second chord sharp belongs to B4, not A4." ] } ], "sha256": "d8b0879cc2a32a3d74151154e5e75fb285d41c91d611df9776beb7a6714d311a" }, { "id": "ex-137", "kind": "music", "path": "assets/reflow/ex-137.png", "dimensions_pixels": [ 1600, 1770 ], "description": "Ex. 137 · Allegro. Chopin, Prelude.", "source_label": "Example 137 · page 87", "source_pdf": { "path": "source/pdf/book.pdf", "page": 102 }, "continuations": [ { "path": "assets/reflow/ex-137-p2.png", "dimensions_pixels": [ 1600, 1060 ] } ], "pdf_page": 102, "sources": [ { "pdf_page": 102, "source_image": "source-pages/p-102.jpg", "printed_page": 87 }, { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "source_image": "source-pages/p-102.jpg", "printed_page": 87, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-137.musicxml", "label": "Ex. 137 · Allegro. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "2c63b63cda856dd052d5c96496269f9eba856f59c3b2af0c8cc1ceecc5a80e29", "sourceVerifiedSha256": "2c63b63cda856dd052d5c96496269f9eba856f59c3b2af0c8cc1ceecc5a80e29", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bars 1–18: running eighths are grouped in threes without printed triplet numerals. Encoded 3:2 eighth durations to match the printed cut time and simultaneous reduction; no triplet numerals added to the running line. Zoom ex-137-zoom1.png and continuation zooms.", "Bars 1–2, reduction beats 2–3: curves connect identical C-flat4 notes; chosen ties rather than slurs. Zoom ex-137-zoom1.png.", "Bar 3, reduction bass beat 1: faint gray slash to the right of the dyad lacks a distinct head or stem; treated as scan blemish, not an extra note. Zoom ex-137-reduction.png.", "Reduction staves end after bar 3; retained as three staves with no invented rests or continuation notes. Later measures contain only staff 1.", "Bar 4, eighth 8 and bar 14, eighth 12: hollow-looking heads retain beams and stems; read as worn eighth-note heads, not longer values. Zoom ex-137-zoom2.png and ex-137-p2-zoom2.png." ] } ], "sha256": "ee9be6f76a6a6d1cfb281c008b7b54104a091c24aca0ff471aabe9b4442719a3" }, { "id": "fig-103-1", "kind": "image", "path": "assets/reflow/fig-103-1.png", "dimensions_pixels": [ 317, 108 ], "description": "The figurings as printed: 6; 6 over 4; 6 over 5; 4 over 3; 4 over 2.", "source_label": "Example · page 88", "source_pdf": { "path": "source/pdf/book.pdf", "page": 103 }, "continuations": [], "pdf_page": 103, "sources": [ { "pdf_page": 103, "source_image": "source-pages/p-103.jpg", "printed_page": 88 } ], "source_image": "source-pages/p-103.jpg", "printed_page": 88, "music_transcription_status": "non-music", "alt": "The figurings as printed: 6; 6 over 4; 6 over 5; 4 over 3; 4 over 2.", "sha256": "0b3311bcd9f531f878f1c01f050829f3dffe5ea9b30fab516c01cfac68f4a0b4" }, { "id": "fig-104-1", "kind": "image", "path": "assets/reflow/fig-104-1.png", "dimensions_pixels": [ 1600, 311 ], "description": "The signs of this paragraph as printed: I with subscript a, b, c; small II with superscript ° and 7 above, subscript a, b, c; III with + above and subscript b; small III with 7 above and subscript c. Diminished seventh: small VII with ° above and 7° below; VII with ° above and 6 over 5 below; VII with ° above and 4 over 3 below; VII with ° above and 4 over 2 below; or VII with superscript °7° and subscript a, b, c, d.", "source_label": "Example · page 89", "source_pdf": { "path": "source/pdf/book.pdf", "page": 104 }, "continuations": [], "pdf_page": 104, "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "source_image": "source-pages/p-104.jpg", "printed_page": 89, "music_transcription_status": "non-music", "alt": "The signs of this paragraph as printed: I with subscript a, b, c; small II with superscript ° and 7 above, subscript a, b, c; III with + above and subscript b; small III with 7 above and subscript c. Diminished seventh: small VII with ° above and 7° below; VII with ° above and 6 over 5 below; VII with ° above and 4 over 3 below; VII with ° above and 4 over 2 below; or VII with superscript °7° and subscript a, b, c, d.", "sha256": "718162dbf171ed3828846a538c87b48e708684a0cda13e30bd9f98d8aacb1419" }, { "id": "fig-104-2", "kind": "image", "path": "assets/reflow/fig-104-2.png", "dimensions_pixels": [ 130, 172 ], "description": "Small II with superscript °; below it 6 over 5; below these, in square brackets, sharp 3.", "source_label": "Example · page 89", "source_pdf": { "path": "source/pdf/book.pdf", "page": 104 }, "continuations": [], "pdf_page": 104, "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "source_image": "source-pages/p-104.jpg", "printed_page": 89, "music_transcription_status": "non-music", "alt": "Small II with superscript °; below it 6 over 5; below these, in square brackets, sharp 3.", "sha256": "154e92201d69dd69c9ac570584f291d5a5d998f40109045ec828c5f6ad5a4ea8" }, { "id": "fig-104-3", "kind": "image", "path": "assets/reflow/fig-104-3.png", "dimensions_pixels": [ 131, 203 ], "description": "The second Embellishing Chord sign as printed: small VI; below it 6 over 5; below these, in square brackets, sharp 1, and below that, in square brackets, sharp 3.", "source_label": "Example · page 89", "source_pdf": { "path": "source/pdf/book.pdf", "page": 104 }, "continuations": [], "pdf_page": 104, "sources": [ { "pdf_page": 104, "source_image": "source-pages/p-104.jpg", "printed_page": 89 } ], "source_image": "source-pages/p-104.jpg", "printed_page": 89, "music_transcription_status": "non-music", "alt": "The second Embellishing Chord sign as printed: small VI; below it 6 over 5; below these, in square brackets, sharp 1, and below that, in square brackets, sharp 3.", "sha256": "b7f0772ce51ef0e58bea28d027605db3eb56ab96e89d01d9695aa060cf63eb88" }, { "id": "ex-138", "kind": "music", "path": "assets/reflow/ex-138.png", "dimensions_pixels": [ 1600, 1882 ], "description": "Ex. 138 · Allegretto. Scriabine, Prelude.", "source_label": "Example 138 · page PDF 106", "source_pdf": { "path": "source/pdf/book.pdf", "page": 106 }, "continuations": [], "pdf_page": 106, "sources": [ { "pdf_page": 106, "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106" } ], "source_image": "source-pages/p-106.jpg", "printed_label": "PDF 106", "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-138.musicxml", "label": "Ex. 138 · Allegretto. Scriabine, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "188edceb007eb216604d7c2b6c2ae6a8cfdee6a3a06804b35e825cfa2c1cd602", "sourceVerifiedSha256": "188edceb007eb216604d7c2b6c2ae6a8cfdee6a3a06804b35e825cfa2c1cd602", "printed_systems": [ { "bars": 4 }, { "bars": 4 }, { "bars": 4 }, { "bars": 4 } ], "issues": [ "Bars 5–6, beat 2: offset half-note dyads share the upper eighth-note pitch; retained as a separate down-stem voice. The D4 ties cross from the up-stem eighth to the down-stem half (2× zooms 2).", "RV-037 ambiguous bar 11 lower bass: head is absent in the worn scan although a lower arc reaches bar 12 A2; retain no invented bar-11 note and no A2 tie. See 138-b11-16.png.", "RV-037 bar 14: G4 eighth and half begin together; displacement separates heads, with no tie. Bass B♭3, E♭3, B♭2, D2 read as successive quarters: flags/beams are not visible in worn lower staff. Four-quarter span retained despite 3/4; alternative final eighth pair rejected as unsupported. See 138-b14.png.", "RV-037 bar 16: low D2 is an undotted half.", "RV-bars bar 14: Inner G4 half; bass B-flat3, E-flat3, B-flat2, D2 have quarter heads/stems without visible flags. printed irregularity: Retain short inner half and four-quarter bass in 3/4; worn bass flags remain uncertain, no inferred eighths. ex-138-3x.png." ] } ], "sha256": "dd7d2bb612a1fde9afc77351fd6f76900310c6e3a4eff4ca51c2f67351ee0702" }, { "id": "ex-139", "kind": "music", "path": "assets/reflow/ex-139.png", "dimensions_pixels": [ 1600, 1377 ], "description": "Ex. 139 · Adagio con molto espressione. Goldmark, Violin Suite.", "source_label": "Example 139 · page 92", "source_pdf": { "path": "source/pdf/book.pdf", "page": 107 }, "continuations": [], "pdf_page": 107, "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_page": 92 } ], "source_image": "source-pages/p-107.jpg", "printed_page": 92, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-139.musicxml", "label": "Ex. 139 · Adagio con molto espressione. Goldmark, Violin Suite.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "947fe77252294aa6685408a1b9d7a2d56ae1cd8c01390465576a0d7d2f5f0200", "sourceVerifiedSha256": "947fe77252294aa6685408a1b9d7a2d56ae1cd8c01390465576a0d7d2f5f0200", "printed_systems": [ { "bars": 4 }, { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 1 is a sixteenth pickup; bar 13 is a quarter-note ending. Neither is padded.", "Bars 6–8: accompaniment chords share stems across the two staves; retained as one voice with cross-staff chord members (2× zoom 2).", "Bars 9–13: treble staff is printed empty; no rests added (2× zoom 3)." ] } ], "sha256": "d349fddd1c80d9d8b1cdd5c08fc589f8db4919f0a52a0bc861d9558d410faecb" }, { "id": "ex-140", "kind": "music", "path": "assets/reflow/ex-140.png", "dimensions_pixels": [ 1600, 855 ], "description": "Ex. 140 · Vivace. Chopin, Valse.", "source_label": "Example 140 · page 92", "source_pdf": { "path": "source/pdf/book.pdf", "page": 107 }, "continuations": [ { "path": "assets/reflow/ex-140-p2.png", "dimensions_pixels": [ 1600, 390 ] } ], "pdf_page": 107, "sources": [ { "pdf_page": 107, "source_image": "source-pages/p-107.jpg", "printed_page": 92 }, { "pdf_page": 108, "source_image": "source-pages/p-108.jpg", "printed_page": 93 } ], "source_image": "source-pages/p-107.jpg", "printed_page": 92, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-140.musicxml", "label": "Ex. 140 · Vivace. Chopin, Valse.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8d7f54a7ca4b101a31d08ef5739d8df4b58967316128b04dce15a677f3f9a96d", "sourceVerifiedSha256": "8d7f54a7ca4b101a31d08ef5739d8df4b58967316128b04dce15a677f3f9a96d", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 4 } ] } ], "sha256": "3a213d2a518043e2f4abf1d7476a8806fdaa1d9a926521f863cc1bb38549d653" }, { "id": "ex-141", "kind": "music", "path": "assets/reflow/ex-141.png", "dimensions_pixels": [ 1600, 1818 ], "description": "Ex. 141 · Allegro. Wagner, Götterdämmerung.", "source_label": "Example 141 · page 93", "source_pdf": { "path": "source/pdf/book.pdf", "page": 108 }, "continuations": [ { "path": "assets/reflow/ex-141-p2.png", "dimensions_pixels": [ 1600, 513 ] } ], "pdf_page": 108, "sources": [ { "pdf_page": 108, "source_image": "source-pages/p-108.jpg", "printed_page": 93 }, { "pdf_page": 109, "source_image": "source-pages/p-109.jpg", "printed_page": 94 } ], "source_image": "source-pages/p-108.jpg", "printed_page": 93, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-141.musicxml", "label": "Ex. 141 · Allegro. Wagner, Götterdämmerung.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "5e660ee694ed79af6835bdf07cb0b5043c1afc73ede7a96a185d300fa367115e", "sourceVerifiedSha256": "5e660ee694ed79af6835bdf07cb0b5043c1afc73ede7a96a185d300fa367115e", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bass paired half-note tremolos use 2:1 duration scaling and two tremolo strokes, preserving hollow heads and elapsed duration; no tuplet brackets are added.", "Bar 12, beat 3: first two descending notes read as sixteenths, followed by a sixteenth triplet; the first short secondary beam joins both stems (3× rhythm-start zoom).", "Bar 14 is a quarter-note ending, retained without padding.", "RV-037 bar 9: printed sixteenth rest precedes E3 sixteenth; low E2 is stemless whole; no natural before A5, hence A-flat5 by key.", "RV-037 ambiguous bar 13: seven ordinary 32nds F3–G2, no tuplet number. Preserve 4⅛-quarter span; do not invent 7:6 scaling. See 141-b12-13.png." ] } ], "sha256": "9ba481a457b0f224da2c152b65aa25c191abfa52dcf153da1a3e8bacca32f6b4" }, { "id": "ex-142", "kind": "music", "path": "assets/reflow/ex-142.png", "dimensions_pixels": [ 1600, 1697 ], "description": "Ex. 142 · Allegro. J. Wihtol, Prelude.", "source_label": "Example 142 · page 94", "source_pdf": { "path": "source/pdf/book.pdf", "page": 109 }, "continuations": [], "pdf_page": 109, "sources": [ { "pdf_page": 109, "source_image": "source-pages/p-109.jpg", "printed_page": 94 } ], "source_image": "source-pages/p-109.jpg", "printed_page": 94, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-142.musicxml", "label": "Ex. 142 · Allegro. J. Wihtol, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "ac6fd33418e40a6be1a30e90d66c50e8eaa389c7cc26644743bbbc8aac2335e9", "sourceVerifiedSha256": "ac6fd33418e40a6be1a30e90d66c50e8eaa389c7cc26644743bbbc8aac2335e9", "printed_systems": [ { "bars": 1 }, { "bars": 1 }, { "bars": 2 } ], "issues": [ "Bars 1–2: diagonal lines link the treble lower voice to the bass upper voice. Lines omitted; voices, pitches, and staves retained (2× zooms 1–2).", "Bar 2, final sixteenth: high note reads C7, above five ledger lines (alternative B6 rejected after 3× high zoom).", "Bar 4 is an eighth-note ending; no rests added.", "RV-038: final bass dyad corrected to C#3/E3, read directly from staff positions in ex-142-detail-1.png (3×)." ] } ], "sha256": "a3d464afa9e96bc9fc7b60b3bda128283d835d30747e659cc86c14828ffd38db" }, { "id": "ex-143", "kind": "music", "path": "assets/reflow/ex-143.png", "dimensions_pixels": [ 1600, 2286 ], "description": "Ex. 143 · Allegretto. Sinding, Violin Suite.", "source_label": "Example 143 · page 95", "source_pdf": { "path": "source/pdf/book.pdf", "page": 110 }, "continuations": [ { "path": "assets/reflow/ex-143-p2.png", "dimensions_pixels": [ 1600, 1083 ] } ], "pdf_page": 110, "sources": [ { "pdf_page": 110, "source_image": "source-pages/p-110.jpg", "printed_page": 95 }, { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 } ], "source_image": "source-pages/p-110.jpg", "printed_page": 95, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-143.musicxml", "label": "Ex. 143 · Allegretto. Sinding, Violin Suite.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "2d5d3cca1ea8b5bb42513bda15fb5fa5d31219d63a363e8c1ff91871fdf083ec", "sourceVerifiedSha256": "2d5d3cca1ea8b5bb42513bda15fb5fa5d31219d63a363e8c1ff91871fdf083ec", "printed_systems": [ { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 3 } ], "issues": [ "Bars 1–6, opening cross-staff run: dotted eighth plus seven 32nds totals 13/32, one 32nd beyond a dotted-quarter beat. No tuplet numeral is visible. Preserved literal durations rather than supplying an unprinted 5:4 tuplet to the last five 32nds. Zoom: ex-143-beam-detail.png (3×).", "Bar 7, bass beats 1 and 7: lower dyads have quarter stems without visible dots; retained quarters beneath the dotted-eighth/16th/eighth upper line. Zoom: ex-143-p2-zoom.png (2×).", "Engraving caveat: Verovio displaces the mid-bar upper-staff bass clefs in bars 1–6 around the cross-staff voice. The MusicXML retains the clef changes and source-read pitches, but the PNG does not faithfully reproduce those clef positions.", "RV-038: bars 1–6 show seven triple-beamed notes without a tuplet number. Retained literal 32nds (each bar exceeds 9/8 by one 32nd); no inferred septuplet. Ambiguous rhythmic intent, verified in ex-143-detail-1 through detail-5 and ex-143-p2-detail-0 at 3×. Bar 7 lower dyads have no dots: quarters G3/Bb3 and B-natural3/D-natural4." ] } ], "sha256": "781e34f1c6020617ba5923879930b0bd2ae121755d717d74744447dd2cd764c8" }, { "id": "ex-144", "kind": "music", "path": "assets/reflow/ex-144.png", "dimensions_pixels": [ 1600, 1114 ], "description": "Ex. 144 · Ziemlich schnell (poco Allegro). R. Strauss, Song, Op. 49.", "source_label": "Example 144 · page 96", "source_pdf": { "path": "source/pdf/book.pdf", "page": 111 }, "continuations": [ { "path": "assets/reflow/ex-144-p2.png", "dimensions_pixels": [ 1600, 1036 ] } ], "pdf_page": 111, "sources": [ { "pdf_page": 111, "source_image": "source-pages/p-111.jpg", "printed_page": 96 }, { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 } ], "source_image": "source-pages/p-111.jpg", "printed_page": 96, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-144.musicxml", "label": "Ex. 144 · Ziemlich schnell (poco Allegro). R. Strauss, Song, Op. 49.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6da63b12dfb3359f901c8920fb71b14ea78890c765f922443b8287a0e8df6986", "sourceVerifiedSha256": "6da63b12dfb3359f901c8920fb71b14ea78890c765f922443b8287a0e8df6986", "printed_systems": [ { "bars": 4 }, { "bars": 4 }, { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 3, first half-beat: five 32nds repeat the quintuplet figure labelled 5 in bar 2, without a repeated numeral; encoded 5:4. Alternative is five unmodified 32nds (overfull 2/8). Zoom: ex-144-detail-1.png (2×).", "RV-039: bar 6-7 small vocal B5 continuation head is worn almost away; choose B5 eighth tied from bar 6, supported by surviving stem and tie. 3x ex-144-check2.png.", "RV-039: bar 12 C6 has a worn hollow-looking head; choose quarter (filled-head engraving with ink loss) rather than half. 3x ex-144-p2-check1.png.", "RV-039: bar 5 small voice shares initial C5 eighth with piano, then G5 dotted sixteenth, C5 thirty-second, E5 eighth; the preceding curve is a slur, not a G-flat tie." ] } ], "sha256": "cf2d7514d8b1dd05c89eae6a09c42d33d70c0c4f0cb409d77a4809b6a9a0b9bb" }, { "id": "ex-145", "kind": "music", "path": "assets/reflow/ex-145.png", "dimensions_pixels": [ 1600, 1261 ], "description": "Ex. 145 · Lento. Rachmaninoff, Prelude.", "source_label": "Example 145 · page 97", "source_pdf": { "path": "source/pdf/book.pdf", "page": 112 }, "continuations": [ { "path": "assets/reflow/ex-145-p2.png", "dimensions_pixels": [ 1600, 1074 ] } ], "pdf_page": 112, "sources": [ { "pdf_page": 112, "source_image": "source-pages/p-112.jpg", "printed_page": 97 }, { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_page": 98 } ], "source_image": "source-pages/p-112.jpg", "printed_page": 97, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-145.musicxml", "label": "Ex. 145 · Lento. Rachmaninoff, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "312d04d45c8f1fd1b695145fe630b827eff9041f7be0d7a2c6fa454c4ed3f952", "sourceVerifiedSha256": "312d04d45c8f1fd1b695145fe630b827eff9041f7be0d7a2c6fa454c4ed3f952", "printed_systems": [ { "bars": 4 }, { "bars": 3 }, { "bars": 7 } ], "issues": [ "Bar 7: the crop ends after the first beamed eighth-note chord while the low half notes continue; preserved the visible notes and half-note duration without adding missing material. Zoom: ex-145-detail-2.png (2×).", "Bars 8–14 have four staves. Stored as two two-staff parts; the lower part has empty measures 1–7, since those staves are absent there. No rests or pitches were invented for those empty measures. Zoom: ex-145-p2-zoom.png (2×).", "Engraving caveat: Verovio shows the empty lower pair of staves in bars 1–7 despite print-object=\"no\"; the four-staff continuation is present. The empty measures contain no invented rests or pitches." ] } ], "sha256": "6caad25b3bde1ade9b7daf6c591630ef435b750168a848216d9b9bbb4a9982fa" }, { "id": "ex-146", "kind": "music", "path": "assets/reflow/ex-146.png", "dimensions_pixels": [ 1600, 1151 ], "description": "Ex. 146 · Allegro. J. Raff, Violin Sonata.", "source_label": "Example 146 · page 98", "source_pdf": { "path": "source/pdf/book.pdf", "page": 113 }, "continuations": [ { "path": "assets/reflow/ex-146-p2.png", "dimensions_pixels": [ 1600, 1604 ] } ], "pdf_page": 113, "sources": [ { "pdf_page": 113, "source_image": "source-pages/p-113.jpg", "printed_page": 98 }, { "pdf_page": 114, "source_image": "source-pages/p-114.jpg", "printed_page": 99 } ], "source_image": "source-pages/p-113.jpg", "printed_page": 98, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-146.musicxml", "label": "Ex. 146 · Allegro. J. Raff, Violin Sonata.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "85c6c37cca69ece45882a1aa186948ca6d5f7b6e6cc514452fe9f18292cf2306", "sourceVerifiedSha256": "85c6c37cca69ece45882a1aa186948ca6d5f7b6e6cc514452fe9f18292cf2306", "printed_systems": [ { "bars": 3 }, { "bars": 4 }, { "bars": 4 }, { "bars": 3 }, { "bars": 4 } ], "issues": [ "Bars 14–15: small upper notes labelled Vln. are a separate treble voice, not grace notes; encoded with their printed half, dotted-quarter and eighth durations. Zoom: ex-146-p2-detail-2.png and detail-3.png (2×).", "RV-039: small violin accidentals in bars 14 and 15 are worn; choose flats on E5 and A5 from surviving curved bowls (rather than naturals/no sign). 3x ex-146-p2-spot1/2.png." ] } ], "sha256": "c9a95bd33c6b294b36572a53c518f2bff3d7b10a5fd9a7fc0262e9e0ce30d075" }, { "id": "ex-147", "kind": "music", "path": "assets/reflow/ex-147.png", "dimensions_pixels": [ 1600, 530 ], "description": "Ex. 147 · Allegro non troppo. Rimsky-Korsakoff, Scheherazade.", "source_label": "Example 147 · page 99", "source_pdf": { "path": "source/pdf/book.pdf", "page": 114 }, "continuations": [ { "path": "assets/reflow/ex-147-p2.png", "dimensions_pixels": [ 1600, 2286 ] }, { "path": "assets/reflow/ex-147-p3.png", "dimensions_pixels": [ 1600, 1629 ] } ], "pdf_page": 114, "sources": [ { "pdf_page": 114, "source_image": "source-pages/p-114.jpg", "printed_page": 99 }, { "pdf_page": 115, "source_image": "source-pages/p-115.jpg", "printed_page": 100 }, { "pdf_page": 116, "source_image": "source-pages/p-116.jpg", "printed_page": 101 } ], "source_image": "source-pages/p-114.jpg", "printed_page": 99, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-147.musicxml", "label": "Ex. 147 · Allegro non troppo. Rimsky-Korsakoff, Scheherazade.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "6a7dfb842cd59d3b5a6975434419258d15ae5be6325479fd1d0223832aa709e2", "sourceVerifiedSha256": "6a7dfb842cd59d3b5a6975434419258d15ae5be6325479fd1d0223832aa709e2", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 } ], "issues": [ "Bar 9, bass beat 1: open head reads D2 half, although the five following quarters make seven quarters against 6/4. Preserved the printed half; quarter is the alternative. Zoom: ex-147-p2-detail-2.png (2×)." ] } ], "sha256": "909cfc6c149f59aa0521ac02fb10e0e98e534ae4e09af327439fdafafa6501e8" }, { "id": "ex-148", "kind": "music", "path": "assets/reflow/ex-148.png", "dimensions_pixels": [ 1600, 505 ], "description": "Ex. 148 · Allegretto. Chopin, Prelude.", "source_label": "Example 148 · page 101", "source_pdf": { "path": "source/pdf/book.pdf", "page": 116 }, "continuations": [ { "path": "assets/reflow/ex-148-p2.png", "dimensions_pixels": [ 1600, 1794 ] } ], "pdf_page": 116, "sources": [ { "pdf_page": 116, "source_image": "source-pages/p-116.jpg", "printed_page": 101 }, { "pdf_page": 117, "source_image": "source-pages/p-117.jpg", "printed_page": 102 } ], "source_image": "source-pages/p-116.jpg", "printed_page": 101, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-148.musicxml", "label": "Ex. 148 · Allegretto. Chopin, Prelude.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "c7ba46409d94547e11f49fb003493d933f987fe5c11d6ddf52603ceb064cfc76", "sourceVerifiedSha256": "c7ba46409d94547e11f49fb003493d933f987fe5c11d6ddf52603ceb064cfc76", "printed_systems": [ { "bars": 3 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 1, beat 2: lower treble voice begins at the printed eighth rest; preceding empty time encoded with forward, without adding rests.", "Bars 6–10: frequent bass/treble clef changes preserved; ledger pitches and double sharps checked in 148-sys2/3/4.png at 2×." ] } ], "sha256": "869630858609007701f93c8b11d06d5284fc7a390e713980adf98d4e7b737ad1" }, { "id": "ex-149", "kind": "music", "path": "assets/reflow/ex-149.png", "dimensions_pixels": [ 1600, 449 ], "description": "Ex. 149 · Andante maestoso. Wagner, Tannhäuser.", "source_label": "Example 149 · page 102", "source_pdf": { "path": "source/pdf/book.pdf", "page": 117 }, "continuations": [ { "path": "assets/reflow/ex-149-p2.png", "dimensions_pixels": [ 1600, 476 ] } ], "pdf_page": 117, "sources": [ { "pdf_page": 117, "source_image": "source-pages/p-117.jpg", "printed_page": 102 }, { "pdf_page": 118, "source_image": "source-pages/p-118.jpg", "printed_page": 103 } ], "source_image": "source-pages/p-117.jpg", "printed_page": 102, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-149.musicxml", "label": "Ex. 149 · Andante maestoso. Wagner, Tannhäuser.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "ea95a2d547ba79f9b3b60b6650a895a163aa925b0c2cf33e415d28560d05e9c4", "sourceVerifiedSha256": "ea95a2d547ba79f9b3b60b6650a895a163aa925b0c2cf33e415d28560d05e9c4", "printed_systems": [ { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bar 1 is a one-quarter pickup; bar 9 is two quarters, as printed.", "Bars 1–3 and 5: cross-staff melody retains its printed staff, including bar 3 beat 3 D3 dotted eighth and D4 natural sixteenth, and bar 5 beat 3 F3 dotted eighth and F4 natural sixteenth. Closely packed stems checked in ex-149-zoom.png and ex-149-p2-zoom.png (2×).", "RV-039: bar 1 upper A3 augmentation dot is unclear; choose dotted eighth followed by B3 sixteenth, aligned with printed B2 dotted eighth. 3x ex-149-detail.png." ] } ], "sha256": "36670fd251be648487203d701c78146b2599379f2367915f2db93dffd9c064e1" }, { "id": "ex-150", "kind": "music", "path": "assets/reflow/ex-150.png", "dimensions_pixels": [ 1600, 1628 ], "description": "Ex. 150 · Adagio. Wagner, Lohengrin.", "source_label": "Example 150 · page 103", "source_pdf": { "path": "source/pdf/book.pdf", "page": 118 }, "continuations": [], "pdf_page": 118, "sources": [ { "pdf_page": 118, "source_image": "source-pages/p-118.jpg", "printed_page": 103 } ], "source_image": "source-pages/p-118.jpg", "printed_page": 103, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-150.musicxml", "label": "Ex. 150 · Adagio. Wagner, Lohengrin.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4178be132a5c6fc74f8a6b213c1077638de8449823f913770496ab5e95358ebf", "sourceVerifiedSha256": "4178be132a5c6fc74f8a6b213c1077638de8449823f913770496ab5e95358ebf", "printed_systems": [ { "bars": 4 }, { "bars": 3 }, { "bars": 4 } ], "issues": [ "Bar 1, beats 2–3: lower treble F4 and E4 look like half notes and overlap by one quarter. Preserved as separate voices (sounding F5/E5 under 8va); alternative is a damaged filled F4 quarter head. Checked 150-bar1.png at 3×.", "Bar 1, bass beat 1: beamed eighth pair F2/F3 with two intervening strokes encoded as measured two-note tremolo. Beat 2 is a quarter/eighth triplet chord pair; checked 150-bar1.png (3×).", "Bars 1–2: printed 8va dotted line applied to all treble voices, ending before bar 3; sounding pitches encoded one octave higher.", "Bar 7 beat 1: single E4 head serves melody and tied lower voice; represented in both voices. Short wavy upper slur retained as slur. Checked 150-sys2.png (2×).", "Bar 11 is a two-quarter ending, as printed.", "RV-040 bar 2 bass F#2: faint shared downward stem; chose half note over B whole-note alternative (ex-150-spot1.png, 3x)." ] } ], "sha256": "09914392df23457acdaae68f47cb1f9b1f4e5d0963db556c277c038fb5a14cfc" }, { "id": "ex-151", "kind": "music", "path": "assets/reflow/ex-151.png", "dimensions_pixels": [ 1600, 2294 ], "description": "Ex. 151 · Molto moderato. Wagner, Tristan.", "source_label": "Example 151 · page 104", "source_pdf": { "path": "source/pdf/book.pdf", "page": 119 }, "continuations": [ { "path": "assets/reflow/ex-151-p2.png", "dimensions_pixels": [ 1600, 2309 ] }, { "path": "assets/reflow/ex-151-p3.png", "dimensions_pixels": [ 1600, 2282 ] }, { "path": "assets/reflow/ex-151-p4.png", "dimensions_pixels": [ 1600, 2282 ] } ], "pdf_page": 119, "sources": [ { "pdf_page": 119, "source_image": "source-pages/p-119.jpg", "printed_page": 104 }, { "pdf_page": 120, "source_image": "source-pages/p-120.jpg", "printed_page": 105 }, { "pdf_page": 121, "source_image": "source-pages/p-121.jpg", "printed_page": 106 }, { "pdf_page": 122, "source_image": "source-pages/p-122.jpg", "printed_page": 107 } ], "source_image": "source-pages/p-119.jpg", "printed_page": 104, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-151.musicxml", "label": "Ex. 151 · Molto moderato. Wagner, Tristan.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "b0d641ecec358610d235dc78245da6fc1a1c4bf7f559d4e48691ca2f71a3e718", "sourceVerifiedSha256": "b0d641ecec358610d235dc78245da6fc1a1c4bf7f559d4e48691ca2f71a3e718", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 2 }, { "bars": 2 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 3 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bars 1–4 and 6–8: half-note tremolo pairs retain half-note types with 2:1 duration scaling, without visible tuplet numbers. Beamed eighth tremolos retain eighth durations.", "Bars 2 and 4, lower staff: initial tied bass notes look like quarters, with the next bass eighth at beat 3; empty intervening time retained without rests. Upper voice has an eighth rest at beat 3-and, then quarter rest. Alternative initial bass half-note readings rejected on filled heads. Checked 151-sys1/2.png (2×).", "Bar 3 to 4: printed tie connects G-flat2 to F-sharp2; preserved enharmonic tie.", "Bar 7: single opening E4 head belongs to upper line and tied lower voice; encoded in both. Upper A4 at beat 3 ties to lower A4 at beat 4. Checked 151-m7-8.png (3×).", "Bar 8, treble: quarter + three eighths + half totals 4.5 quarters; retained as printed. Alternative first eighth or one grace note is not supported by clear flags/size. Lower line likewise totals 4.5. Bass double-dotted tremolo pairs total 4 quarters with the printed sixteenth rests. Checked 151-m7-8.png (3×).", "RV-040 bar 9 bass: D4 is single-dotted quarter, not double-dotted; faint second speck rejected (ex-151-detail2.png, 3x).", "RV-040 bar 8: preserved A quarter plus three eighths plus half in upper line (4.5 quarters); first stem has no flag, all three following heads are full size.", "RV-040 bars 18–19: inner bass B4 sixteenth and A4 eighth share heads with the continuous sixteenth line; shared heads not duplicated there; separately printed B2 quarter retained.", "RV-040 continuation bars 12–17: small rest hooks/flags are worn. Bar 12 explicitly numbered triplets use a sixteenth rest and sixteenth lead-in; unnumbered figures in bars 13–17 use 32nd rest/lead-in and three sixteenths. Chose metrical small notes over B grace-note reading; inspected p2/p3 3x detail crops.", "RV-040 bars 18–19 initial inner treble dyad and bass B2 quarter use separate voices; bass shared-head short notes are retained once in the running sixteenth line.", "RV-bars bar 2: Lower bass tied quarter at opening, eighth at beat 3; no later notes/rests in that voice. printed irregularity: Partial voice ends at 2.5; preserve empty time without invented rests. ex-151-detail-1-3x.png.", "RV-bars bar 4: Lower bass tied quarter at opening, eighth at beat 3; no later notes/rests in that voice. printed irregularity: Partial voice ends at 2.5. ex-151-detail-2-3x.png.", "RV-bars bar 6: First bass half-note tremolo pair occupies first half of bar; second pair changes stem direction. printed irregularity: Audit splits successive printed lines by voice: first ends at 2, second at 4; no missing music. ex-151-detail-3-3x.png.", "RV-bars bar 8: Upper quarter plus three eighths plus half; lower treble likewise spans 4.5; bass has two isolated sixteenths. printed irregularity: Keep overfull treble and short bass voice ending at 2.25; no printed tuplet/grace indication. ex-151-detail-4-3x.png.", "RV-bars bar 10: Upper bass has two quarters only; lower chordal line continues for full bar. printed irregularity: Partial voice ends at 2; no extra rest printed. ex-151-detail-5-3x.png.", "RV-bars bar 12: Inner treble and low bass have quarter attacks on beats 1 and 3 only. printed irregularity: Both partial voices end at 3; forwards preserve blank intervals. ex-151-p2-detail-1-3x.png.", "RV-bars bar 13: Running line starts in bass and crosses to treble; separate initial D-natural4 eighth. printed irregularity: Staff 2/voice 2 ends at 0.5 but same voice continues on staff 1; voice 7 is a printed isolated eighth. ex-151-p2-detail-2-3x.png.", "RV-bars bar 14: Bass tied eighth chord followed by single-hook eighth rest; separate initial half-note dyad. slip fixed in A/B: Final rest 32nd → eighth. Voice 5 now ends at 4; backup returns exactly to 0; voice 6 half ends at 2 as printed. ex-151-bar14-rest-3x.png.", "RV-bars bar 15: Running figure crosses staves repeatedly, ending with two treble sixteenths. printed irregularity: Staff-2 fragment ends at 3.5; complete voice continues to 4 on staff 1. ex-151-p3-detail-1-3x.png.", "RV-bars bar 16: Secondary line: two bass eighths at beat 2, then rest/lead-in and cross-staff sixteenths at beat 3. printed irregularity: Staff-2 fragment ends at 2.5, staff-1 fragment at 3; no further note/rest printed in this voice. ex-151-p3-detail-2-3x.png.", "RV-bars bar 17: Running voice crosses from bass to treble in first two beats, then remains in bass. printed irregularity: Staff-1 fragment ends at 2; complete voice ends at 4. ex-151-p3-detail-3-3x.png.", "RV-bars bar 18: Initial inner treble quarter dyad; separate B2 bass quarter at beat 3, later bass heads shared with running line. printed irregularity: Partial voices end at 1 and 3; shared-head notes already retained in running line. ex-151-p3-detail-4-3x.png.", "RV-bars bar 19: Initial inner treble quarter dyad; separate B2 bass quarter at beat 3, later bass heads shared with running line. printed irregularity: Same partial-voice pattern as bar 18. ex-151-p4-detail-1-3x.png.", "RV-bars bar 20: Upper treble half-note dyad only; lower voice continues through bar. printed irregularity: Half is undotted; partial upper voice ends at 2. ex-151-p4-detail-2-3x.png.", "RV-bars bar 21: Inner treble two quarters; secondary bass quarter, gap, eighth, quarter. printed irregularity: Partial voices end at 2 and 3; no ending rests printed. ex-151-p4-detail-3-3x.png.", "RV-bars bar 22: Inner treble half-note dyad only, beneath complete upper melody. printed irregularity: Partial voice ends at 2, no final rest. ex-151-p4-detail-4-3x.png.", "RV-bars bar 23: Bass eighth rest, four triple-beamed 32nd attacks, then dotted-half tremolo pair; low octave eighth at bar start. slip fixed in A/B: Sixteenth → 32nd for all four attacks/chord members, with three beams. Voice 3 now spans 4, original whole backup places bass octave at 0 (ends 0.5). ex-151-p4-detail-5-3x.png.", "RV-bars bar 24: Bass eighth rest, four triple-beamed 32nd attacks, then dotted-half tremolo pair; low octave eighth at bar start. slip fixed in A/B: Same duration/beam correction as bar 23; retain inner treble half and isolated bass eighth as printed. ex-151-p4-detail-6-3x.png." ] } ], "sha256": "20105b22f27dc64093e942edf675abb8e642f28a181c474ad6cf837f0d42860b" }, { "id": "ex-152", "kind": "music", "path": "assets/reflow/ex-152.png", "dimensions_pixels": [ 1600, 2285 ], "description": "Ex. 152 · Très lent. D’Indy, Médée.", "source_label": "Example 152 · page 108", "source_pdf": { "path": "source/pdf/book.pdf", "page": 123 }, "continuations": [ { "path": "assets/reflow/ex-152-p2.png", "dimensions_pixels": [ 1600, 2327 ] }, { "path": "assets/reflow/ex-152-p3.png", "dimensions_pixels": [ 1600, 495 ] } ], "pdf_page": 123, "sources": [ { "pdf_page": 123, "source_image": "source-pages/p-123.jpg", "printed_page": 108 }, { "pdf_page": 124, "source_image": "source-pages/p-124.jpg", "printed_page": 109 }, { "pdf_page": 125, "source_image": "source-pages/p-125.jpg", "printed_page": 110 } ], "source_image": "source-pages/p-123.jpg", "printed_page": 108, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-152.musicxml", "label": "Ex. 152 · Très lent. D’Indy, Médée.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "fe30d23864715174cd610f9590e9ff9e9c59907447013aa7ec24b1a19e9169aa", "sourceVerifiedSha256": "fe30d23864715174cd610f9590e9ff9e9c59907447013aa7ec24b1a19e9169aa", "printed_systems": [ { "bars": 4 }, { "bars": 4 }, { "bars": 4 }, { "bars": 4 }, { "bars": 5 }, { "bars": 5 }, { "bars": 5 }, { "bars": 4 }, { "bars": 5 } ], "issues": [ "Printed metre is a single 3; encoded 3/4 with single-number display. It is reprinted at bar 9.", "Bars 1, 3, 5, 9, 11, 13: inner half-note chords begin on beat 2 without printed rests; forward offsets preserve the empty first beat.", "Bar 6: inner Ab3/D4 half chord has no following rest; left short as printed.", "Bar 19 contains two quarter beats before the final barline; no padding.", "Bar 25: bass bracketed 2 denotes two quarters in the time of three; encoded 2-in-3, ex-152-p2-z2.png.", "Bars 28–39: two-stroke alternating tremolos preserve printed note values, with 2-in-1 duration scaling for each endpoint. ex-152-p2-z3.png, ex-152-p2-z4.png, ex-152-p3-z1.png.", "Bar 29 bass second tremolo endpoint: no augmentation dot visible, unlike bars 30–31. Encoded half rather than dotted half, leaving this voice half a quarter short; ex-152-p2-z3.png.", "Bar 40: treble chord is quarter, bass chord half; retained unequal short endings, ex-152-p3-z1.png." ] } ], "sha256": "8d9cf49822840d5b2842c146007433341aee325b4d39bc720b245bd9bd60880a" }, { "id": "ex-153", "kind": "music", "path": "assets/reflow/ex-153.png", "dimensions_pixels": [ 1600, 1765 ], "description": "Ex. 153 · Appassionato. Glazounoff, Valse.", "source_label": "Example 153 · page 110", "source_pdf": { "path": "source/pdf/book.pdf", "page": 125 }, "continuations": [], "pdf_page": 125, "sources": [ { "pdf_page": 125, "source_image": "source-pages/p-125.jpg", "printed_page": 110 } ], "source_image": "source-pages/p-125.jpg", "printed_page": 110, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/ex-153.musicxml", "label": "Ex. 153 · Appassionato. Glazounoff, Valse.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4cb470a4244e42057db0612899a17596ea65baea0ce5369870d1d37a9f6852d4", "sourceVerifiedSha256": "4cb470a4244e42057db0612899a17596ea65baea0ce5369870d1d37a9f6852d4", "printed_systems": [ { "bars": 3 }, { "bars": 4 }, { "bars": 3 } ], "issues": [ "Bars 4, 6, 8, 10: 8va begins at fourth eighth (beat 2-and); continues through the next bar’s opening chord in bars 5, 7, 9. Sounding pitches encoded; ex-153-z2.png and ex-153-z3.png.", "Bars 8 and 10, beat 3: earlier printed flats carry at the same written staff positions under 8va. Sidecar pitch alterations retain Ab/Eb (and Cb in bar 8) without adding printed accidental signs; ex-153-z3.png.", "Bass low octaves read as A1/A2 (bars 3–4), F#1/F#2 (5–6), Db1/Db2 (7–8), Bb0/Bb1 (9–10), checked by ledger counting in ex-153-bass1.png, ex-153-bass2.png, ex-153-bass3.png." ] } ], "sha256": "d3bbe03475bc8442f1102c9a473f6736e269a9c62bf2c264cb0f7ff1b42ae35b" }, { "id": "app-001", "kind": "music", "path": "assets/reflow/app-001.png", "dimensions_pixels": [ 1600, 606 ], "description": "Fragment 1 · Lento espressivo. Schumann, Op. 68.", "source_label": "Fragment 1 · page PDF 128", "source_pdf": { "path": "source/pdf/book.pdf", "page": 128 }, "continuations": [ { "path": "assets/reflow/app-001-p2.png", "dimensions_pixels": [ 1600, 631 ] }, { "path": "assets/reflow/app-001-p3.png", "dimensions_pixels": [ 1600, 531 ] }, { "path": "assets/reflow/app-001-p4.png", "dimensions_pixels": [ 1600, 1204 ] }, { "path": "assets/reflow/app-001-p5.png", "dimensions_pixels": [ 1600, 668 ] } ], "pdf_page": 128, "sources": [ { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" }, { "pdf_page": 128, "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128" }, { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_page": 114 }, { "pdf_page": 129, "source_image": "source-pages/p-129.jpg", "printed_page": 114 }, { "pdf_page": 130, "source_image": "source-pages/p-130.jpg", "printed_page": 115 } ], "source_image": "source-pages/p-128.jpg", "printed_label": "PDF 128", "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-001.musicxml", "label": "Fragment 1 · Lento espressivo. Schumann, Op. 68.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "84b2541b76761b5196e0d0a66f3ffecae414c95a43e4b8444f4606f62aff824d", "sourceVerifiedSha256": "84b2541b76761b5196e0d0a66f3ffecae414c95a43e4b8444f4606f62aff824d", "printed_systems": [ { "bars": 4 }, { "bars": 3 }, { "bars": 4 }, { "bars": 3 }, { "bars": 3 }, { "bars": 3 } ], "issues": [ "RV-041 bar 6 bass: worn cross beside F4 read as double sharp; small F3 below read as grace eighth, not a dotted-quarter chord member. Ambiguous engraving; review app-001-m6-detail.png.", "Bar 18 beat 1: independent Gn4/C#5 quarter dyad overlaps E5 half and accompaniment; retained as voice 5 without filling its remaining time. app-001-p5-z1.png.", "Bar 18 beat 3 bass: small D3 read as a grace note before C-natural4 half; bar 19 beat 3 small C5–D5–G4–C5 group read as grace sixteenths. app-001-p5-z1.png.", "Bar 9 has three quarter beats, bar 10 is a one-quarter pickup following a heavy barline, and final bar has three beats; no padding.", "Analytical brackets omitted; enclosed alteration figures and letter labels retained as words.", "RV-041 bar 17 bass D#4: worn notehead resembles an open head; quarter chosen from stem/spacing between C4 and E4, rather than a half overlapping E4. app-001-m17.png." ] } ], "sha256": "d054a2a6571746c1633291ea7ee427aa8256c647c7d04c1a36c996cc19fe83fe" }, { "id": "app-002", "kind": "music", "path": "assets/reflow/app-002.png", "dimensions_pixels": [ 1600, 1191 ], "description": "Fragment 2 · Allegro brillante. Verdi, Falstaff.", "source_label": "Fragment 2 · page 115", "source_pdf": { "path": "source/pdf/book.pdf", "page": 130 }, "continuations": [ { "path": "assets/reflow/app-002-p2.png", "dimensions_pixels": [ 1600, 1117 ] } ], "pdf_page": 130, "sources": [ { "pdf_page": 130, "source_image": "source-pages/p-130.jpg", "printed_page": 115 }, { "pdf_page": 131, "source_image": "source-pages/p-131.jpg", "printed_page": 116 } ], "source_image": "source-pages/p-130.jpg", "printed_page": 115, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-002.musicxml", "label": "Fragment 2 · Allegro brillante. Verdi, Falstaff.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "4d265540f8398aa581ba0c9dc7418fcaf7ed09b7bec732620303a0048fee06b5", "sourceVerifiedSha256": "4d265540f8398aa581ba0c9dc7418fcaf7ed09b7bec732620303a0048fee06b5", "printed_systems": [ { "bars": 4 }, { "bars": 4 }, { "bars": 4 }, { "bars": 5 } ], "issues": [ "Bars 1–7: bass staff is printed empty; retained without invented rests.", "Bar 7, lower voice beat 2: notehead looks open in the scan but has an eighth-note beam; encoded E4 eighth. Zoom app-002-z2.png.", "Bar 2–3: angular analytical connectors omitted; D. App. labels retained." ] } ], "sha256": "265893e1a08251e8f07ef2d951053b3a4aa7ec78028a6963a53a680af54af002" }, { "id": "app-003", "kind": "music", "path": "assets/reflow/app-003.png", "dimensions_pixels": [ 1600, 1054 ], "description": "Fragment 3 · Allegro con brio. Mendelssohn, Fugue.", "source_label": "Fragment 3 · page 116", "source_pdf": { "path": "source/pdf/book.pdf", "page": 131 }, "continuations": [ { "path": "assets/reflow/app-003-p2.png", "dimensions_pixels": [ 1600, 1527 ] } ], "pdf_page": 131, "sources": [ { "pdf_page": 131, "source_image": "source-pages/p-131.jpg", "printed_page": 116 }, { "pdf_page": 132, "source_image": "source-pages/p-132.jpg", "printed_page": 117 } ], "source_image": "source-pages/p-131.jpg", "printed_page": 116, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-003.musicxml", "label": "Fragment 3 · Allegro con brio. Mendelssohn, Fugue.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "5f207703c416000ffe9bf322cf5db5af3d585aeb2695918c36eee637bea655cf", "sourceVerifiedSha256": "5f207703c416000ffe9bf322cf5db5af3d585aeb2695918c36eee637bea655cf", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 5: upper voice begins on bass staff and crosses to treble at beat 3; no treble rests invented. Final bar contains only a quarter note in each voice, as printed." ] } ], "sha256": "87c2eec0154d4cbab051b9aa091456d3b6d0773e181a2a862699dab427fd5509" }, { "id": "app-004", "kind": "music", "path": "assets/reflow/app-004.png", "dimensions_pixels": [ 1600, 673 ], "description": "Fragment 4 · Rapido. Prestissimo. Liszt, Rhapsody.", "source_label": "Fragment 4 · page 117", "source_pdf": { "path": "source/pdf/book.pdf", "page": 132 }, "continuations": [ { "path": "assets/reflow/app-004-p2.png", "dimensions_pixels": [ 1600, 1074 ] } ], "pdf_page": 132, "sources": [ { "pdf_page": 132, "source_image": "source-pages/p-132.jpg", "printed_page": 117 }, { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_page": 118 } ], "source_image": "source-pages/p-132.jpg", "printed_page": 117, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-004.musicxml", "label": "Fragment 4 · Rapido. Prestissimo. Liszt, Rhapsody.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "f1e5352eda069e13ebf5a1465db5e808d45932e6d84427aaf2bb74d689d90288", "sourceVerifiedSha256": "f1e5352eda069e13ebf5a1465db5e808d45932e6d84427aaf2bb74d689d90288", "printed_systems": [ { "bars": 3 }, { "bars": 3 }, { "bars": 3 } ], "issues": [ "Bars 1–8: alternating cross-staff sixteenths form one line; upper dyads are chords. Bar 9: whole-bar rest above a half-note octave." ] } ], "sha256": "f21a8bb38fe8b91f484b1b5bf3a102cb057943728b0dbbd235d8f3c39fb6077c" }, { "id": "app-005", "kind": "music", "path": "assets/reflow/app-005.png", "dimensions_pixels": [ 1600, 587 ], "description": "Fragment 5 · Molto agitato. Chopin, Prelude No. 8.", "source_label": "Fragment 5 · page 118", "source_pdf": { "path": "source/pdf/book.pdf", "page": 133 }, "continuations": [ { "path": "assets/reflow/app-005-p2.png", "dimensions_pixels": [ 1600, 547 ] }, { "path": "assets/reflow/app-005-p3.png", "dimensions_pixels": [ 1600, 1289 ] }, { "path": "assets/reflow/app-005-p4.png", "dimensions_pixels": [ 1600, 617 ] }, { "path": "assets/reflow/app-005-p5.png", "dimensions_pixels": [ 1600, 618 ] } ], "pdf_page": 133, "sources": [ { "pdf_page": 133, "source_image": "source-pages/p-133.jpg", "printed_page": 118 }, { "pdf_page": 134, "source_image": "source-pages/p-134.jpg", "printed_page": 119 }, { "pdf_page": 134, "source_image": "source-pages/p-134.jpg", "printed_page": 119 }, { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 }, { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 } ], "source_image": "source-pages/p-133.jpg", "printed_page": 118, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-005.musicxml", "label": "Fragment 5 · Molto agitato. Chopin, Prelude No. 8.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "76fcec8ef62e96eb041e49faabcdcd001748cf9bf68452f6e9dc76357fd6db39", "sourceVerifiedSha256": "76fcec8ef62e96eb041e49faabcdcd001748cf9bf68452f6e9dc76357fd6db39", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bar 4, bass beat 1: diagonal analytical strokes beside C4/E♭4 omitted; pitches read from heads, not harmony. Analytical continuation lines in bars 4, 8 and 9–10 omitted; D.O.P. text retained.", "Bar 9, treble beat 2: repeated flat on B4 is printed as two adjacent flats; encoded double-flat.", "Bar 12, bass beat 3: A3 quarter and B♭3 half have separate stems; retained as distinct voices." ] } ], "sha256": "721f383d7b0ec6ac4375acc8dab49087861bbd562cca0de7b7045e6a0e129d52" }, { "id": "fig-135-1", "kind": "image", "path": "assets/reflow/fig-135-1.png", "dimensions_pixels": [ 336, 124 ], "description": "The two figurings as printed: 6 with raised plus over 5; and 6 with raised plus over 4 with two raised pluses over 3.", "source_label": "Example · page 120", "source_pdf": { "path": "source/pdf/book.pdf", "page": 135 }, "continuations": [], "pdf_page": 135, "sources": [ { "pdf_page": 135, "source_image": "source-pages/p-135.jpg", "printed_page": 120 } ], "source_image": "source-pages/p-135.jpg", "printed_page": 120, "music_transcription_status": "non-music", "alt": "The two figurings as printed: 6 with raised plus over 5; and 6 with raised plus over 4 with two raised pluses over 3.", "sha256": "d65bda11a305314e1e534b5097d5e0e5fd5ea9361f18961b39bbb2515934bd59" }, { "id": "app-006", "kind": "music", "path": "assets/reflow/app-006.png", "dimensions_pixels": [ 1600, 2285 ], "description": "Fragment 6 · Allegro maestoso. Chopin, Polonaise.", "source_label": "Fragment 6 · page 121", "source_pdf": { "path": "source/pdf/book.pdf", "page": 136 }, "continuations": [ { "path": "assets/reflow/app-006-p2.png", "dimensions_pixels": [ 1600, 607 ] } ], "pdf_page": 136, "sources": [ { "pdf_page": 136, "source_image": "source-pages/p-136.jpg", "printed_page": 121 }, { "pdf_page": 137, "source_image": "source-pages/p-137.jpg", "printed_page": 122 } ], "source_image": "source-pages/p-136.jpg", "printed_page": 121, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-006.musicxml", "label": "Fragment 6 · Allegro maestoso. Chopin, Polonaise.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "63563103d43f8dbd9d62d6e0c0f18c38740f11395020d600ca0f644ea6de4bd2", "sourceVerifiedSha256": "63563103d43f8dbd9d62d6e0c0f18c38740f11395020d600ca0f644ea6de4bd2", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 5 } ], "issues": [ "Bars 1–3: brackets identify broken passing tones; omitted, words retained. Bar 2 includes paired thirty-seconds, verified with 3× beam crops.", "Bar 3, beat 1: shared heads carry both dotted-eighth/sixteenth up-stems and four sixteenth down-stems; represented as separate voices.", "Bars 9–13: treble staff is empty in print; no rests added. Bars 10–12 curved connections join different pitches and are slurs, not ties. Final bar is one quarter long." ] } ], "sha256": "07cb6eb14a420b9f8aeb963bd23a97c565e2e60e03823ae43e2e4fe7eeeaf0e5" }, { "id": "app-007", "kind": "music", "path": "assets/reflow/app-007.png", "dimensions_pixels": [ 1600, 1623 ], "description": "Fragment 7 · Andante. Liszt, Fugue on the name of Bach.", "source_label": "Fragment 7 · page 122", "source_pdf": { "path": "source/pdf/book.pdf", "page": 137 }, "continuations": [ { "path": "assets/reflow/app-007-p2.png", "dimensions_pixels": [ 1600, 1290 ] }, { "path": "assets/reflow/app-007-p3.png", "dimensions_pixels": [ 1600, 556 ] }, { "path": "assets/reflow/app-007-p4.png", "dimensions_pixels": [ 1600, 2287 ] } ], "pdf_page": 137, "sources": [ { "pdf_page": 137, "source_image": "source-pages/p-137.jpg", "printed_page": 122 }, { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 123 }, { "pdf_page": 138, "source_image": "source-pages/p-138.jpg", "printed_page": 123 }, { "pdf_page": 139, "source_image": "source-pages/p-139.jpg", "printed_page": 124 } ], "source_image": "source-pages/p-137.jpg", "printed_page": 122, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-007.musicxml", "label": "Fragment 7 · Andante. Liszt, Fugue on the name of Bach.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "163f31f861c6387661b8b7d022d58c4910eda84a8bc1243b891a290988946dca", "sourceVerifiedSha256": "163f31f861c6387661b8b7d022d58c4910eda84a8bc1243b891a290988946dca", "printed_systems": [ { "bars": 4 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 3 } ], "issues": [ "Bar 1 is a quarter-note pickup; final bar has three quarters.", "Bars 9–10: bass adds an independent down-stem voice; no rests invented before its entry. Bar 14 inner voice enters after an eighth, without an added rest.", "Bars 18 and 21: shorter inner voices stop where their stems stop in the print; shared following rests are not duplicated.", "Bars 18–20: dotted D.O.P. continuation omitted, text retained.", "RV-044: bar 7 first analysis numeral is worn; V/6 chosen from surviving angled stroke (app-007-spot2.png), rather than I/6. Bar 14 C♯5 to bar 15 C♮5 is a slur, not a tie." ] } ], "sha256": "ef85f59e9e4d79f7e20499a579741c4804fa16718b819f6511af30f86409fcda" }, { "id": "app-008", "kind": "music", "path": "assets/reflow/app-008.png", "dimensions_pixels": [ 1600, 490 ], "description": "Fragment 8 · Allegro. Bach-Tausig.", "source_label": "Fragment 8 · page 125", "source_pdf": { "path": "source/pdf/book.pdf", "page": 140 }, "continuations": [ { "path": "assets/reflow/app-008-p2.png", "dimensions_pixels": [ 1600, 1558 ] }, { "path": "assets/reflow/app-008-p3.png", "dimensions_pixels": [ 1600, 532 ] }, { "path": "assets/reflow/app-008-p4.png", "dimensions_pixels": [ 1600, 633 ] }, { "path": "assets/reflow/app-008-p5.png", "dimensions_pixels": [ 1600, 608 ] }, { "path": "assets/reflow/app-008-p6.png", "dimensions_pixels": [ 1600, 2264 ] }, { "path": "assets/reflow/app-008-p7.png", "dimensions_pixels": [ 1600, 728 ] } ], "pdf_page": 140, "sources": [ { "pdf_page": 140, "source_image": "source-pages/p-140.jpg", "printed_page": 125 }, { "pdf_page": 140, "source_image": "source-pages/p-140.jpg", "printed_page": 125 }, { "pdf_page": 141, "source_image": "source-pages/p-141.jpg", "printed_page": 126 }, { "pdf_page": 141, "source_image": "source-pages/p-141.jpg", "printed_page": 126 }, { "pdf_page": 141, "source_image": "source-pages/p-141.jpg", "printed_page": 126 }, { "pdf_page": 142, "source_image": "source-pages/p-142.jpg", "printed_page": 127 }, { "pdf_page": 143, "source_image": "source-pages/p-143.jpg", "printed_page": 128 } ], "source_image": "source-pages/p-140.jpg", "printed_page": 125, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-008.musicxml", "label": "Fragment 8 · Allegro. Bach-Tausig.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8b650b7f02d7d8985e9ccbb1eced6632eeedc37f944f8f670c632e8df5cf8140", "sourceVerifiedSha256": "8b650b7f02d7d8985e9ccbb1eced6632eeedc37f944f8f670c632e8df5cf8140", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 3 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 1 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bars 6–9: open heads joined by one/two beams interpreted as measured alternating tremolos, encoded half 2in1 with tremolo start/stop. Bar 9 ends after 3 quarters. zoom-2-2.png, zoom-2-3.png.", "Bar 5 beat 3: B4 has both an up stem and a down beamed stem; retained as separate quarter and eighth voices. zoom-2-2.png.", "Bars 10–11: extracts lack internal barlines; bar 10 totals 15 sixteenths, bar 11 totals 18 sixteenths. No padding or inferred barlines. zoom-3.png, zoom-4.png.", "Bars 12–14: each printed system encoded as a measure (16,32,32 thirty-second slots); system ends have no internal full barline, so invisible barlines preserve the continuous appearance. Empty voice slots use forward, not invented rests. zoom-5.png, zoom-6-1.png, zoom-6-2.png. The converter rejects zero-bar printed_systems entries, so the strict interrupted-measure representation (one measure spanning three systems) could not be used.", "Analysis in bars 10–11 and 16: square-bracket figure stacks retained as words; small natural signs read as naturals rather than sharps. zoom-3.png, zoom-4.png, zoom-6-3.png.", "Bar 16 beat 1: printed arpeggio on bass chord preserved through sidecar; accidental on low G octaves read sharp. zoom-6-3.png.", "RV-044: opening whole-bar rest occupies the two-quarter pickup; whole 2in1 preserves its glyph and duration. Bar 15 low dotted quarters are F1/F2. Final continuation supplies bars 17–18." ] } ], "sha256": "e4e0e542afb3f1cd3b0a5ea623201a9938f48e7ce4e7b592b2e9d58d698e5e8f" }, { "id": "app-009", "kind": "music", "path": "assets/reflow/app-009.png", "dimensions_pixels": [ 1600, 1342 ], "description": "Fragment 9 · Moderato. Wagner, Parsival.", "source_label": "Fragment 9 · page 128", "source_pdf": { "path": "source/pdf/book.pdf", "page": 143 }, "continuations": [ { "path": "assets/reflow/app-009-p2.png", "dimensions_pixels": [ 1600, 545 ] } ], "pdf_page": 143, "sources": [ { "pdf_page": 143, "source_image": "source-pages/p-143.jpg", "printed_page": 128 }, { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129 } ], "source_image": "source-pages/p-143.jpg", "printed_page": 128, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-009.musicxml", "label": "Fragment 9 · Moderato. Wagner, Parsival.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "1036c67066ce7bc1ebe1a268770945c5c4021aefdfa688c543bafa5640ce99ff", "sourceVerifiedSha256": "1036c67066ce7bc1ebe1a268770945c5c4021aefdfa688c543bafa5640ce99ff", "printed_systems": [ { "bars": 2 }, { "bars": 3 }, { "bars": 5 } ], "issues": [ "Bars 1–6: alternating-note tremolos use doubled written durations with 2:1 time modification. In bars 1–2 the dot appears only at the first head of a dotted-quarter pair; interpreted as applying to the pair (rather than unequal durations). Checked app-009-zoom.png, 2×.", "Bars 4–5: continuation line after d VII°/4/3 omitted; analysis continues through bar 5. Checked app-009-zoom.png, 2×.", "Bar 10: final quarter-note chords leave the 4/4 bar short; preserved without padding. Checked app-009-p2-zoom.png, 2×." ] } ], "sha256": "12284d659381b83f544fd6b71ad0153743f569deb9f87a06ada9dd9e8412a267" }, { "id": "app-010", "kind": "music", "path": "assets/reflow/app-010.png", "dimensions_pixels": [ 1600, 1518 ], "description": "Fragment 10 · Lento e maestoso. Wagner, Parsival.", "source_label": "Fragment 10 · page 129", "source_pdf": { "path": "source/pdf/book.pdf", "page": 144 }, "continuations": [ { "path": "assets/reflow/app-010-p2.png", "dimensions_pixels": [ 1600, 700 ] }, { "path": "assets/reflow/app-010-p3.png", "dimensions_pixels": [ 1600, 740 ] } ], "pdf_page": 144, "sources": [ { "pdf_page": 144, "source_image": "source-pages/p-144.jpg", "printed_page": 129 }, { "pdf_page": 145, "source_image": "source-pages/p-145.jpg", "printed_page": 130 }, { "pdf_page": 145, "source_image": "source-pages/p-145.jpg", "printed_page": 130 } ], "source_image": "source-pages/p-144.jpg", "printed_page": 129, "music_transcription_status": "print-reviewed", "playback_status": "ready", "default_view": "rendered", "musicxml": [ { "path": "musicxml/app-010.musicxml", "label": "Fragment 10 · Lento e maestoso. Wagner, Parsival.", "playbackAvailable": true, "transcriptionStatus": "print-reviewed", "sha256": "8e76afbf15774ba0a97d2c2a97d46f16e9fa821cd06f6f95ed6875ffd54ac33f", "sourceVerifiedSha256": "8e76afbf15774ba0a97d2c2a97d46f16e9fa821cd06f6f95ed6875ffd54ac33f", "printed_systems": [ { "bars": 2 }, { "bars": 2 }, { "bars": 2 }, { "bars": 2 } ], "issues": [ "Bars 1–4 and 6–7: unnumbered triplet subdivisions interpreted from the simultaneous numbered triplets and rhythmic grouping. In particular bar 2 final upper eighth plus four sixteenths, bars 3–4 final three eighths, bar 6 lower-staff three-eighth groups, and bar 7 lower-staff quarter/eighth and three-sixteenth groups use 3:2. Alternative: literal ordinary durations producing overfull voices. Checked 010-top.png, 010-second.png, 010-mid-bass.png, 010-last-bass.png (3×), and app-010-detail.png / app-010-p3-detail.png (2×).", "Bar 2 lower staff beat 1: E-natural eighth and D half start together in separate voices; horizontal displacement treated as collision spacing, not an unprinted eighth rest. Checked app-010-zoom.png (2×).", "Bar 4 lower stem-down voice reads E2–D-natural2–C2–E2 from ledger lines. Checked app-010-zoom.png (2×).", "Bar 5: continuation line after d V/4/3 omitted; bracketed alterations retained as words. Checked app-010-p2-zoom.png (2×).", "Bar 8: stem-up treble dyad is a half note; other voices total three quarters. Ending left short without padding. Checked app-010-p3-zoom.png (2×).", "RV-045: bar 6 lower-staff beats 2 and 4 each have three single-beamed eighths without a numeral; interpreted as unmarked 3:2 eighth triplets. Ordinary eighths would overfill the beat. Both readings agree; app-010-p2-zoom1.png (3×)." ] } ], "sha256": "d99bfdff4bbce35869a31ea57fb9283d6a0006b8f6479d34231bbc10c6795a09" } ], "contents": [ { "blockId": "cutter-title", "title": "Harmonic Analysis", "group": "Contents" }, { "blockId": "cutter-p008-1", "title": "PREFACE.", "group": "Contents", "page": "" }, { "blockId": "cutter-p012-1", "title": "CONTENTS.", "group": "Contents", "page": "" }, { "blockId": "cutter-p016-1", "title": "PART ONE. INTRODUCTORY.", "group": "Contents", "page": "1" }, { "blockId": "cutter-p038-1", "title": "PART TWO. THE NON-HARMONIC TONES, IN DETAIL.", "group": "Contents", "page": "" }, { "blockId": "cutter-p054-1", "title": "PART THREE. 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