More Music Theory Model Answers Grade 3: Theory

SKU: HL.1303101

UPC: 196288173007.

This revised 4th edition of Practice in Music Theory Grade 6 comes complete with detachable Model Answers! The success of its previous editions for the past two decades has prompted the need for more definitive solutions. Based on the ABRSM theory examination syllabus, it is the first of three comprehensive coursebooks leading to Grade 8 and beyond. Students are guided to achieve a high theoretical standard, with competent knowledge in harmony, counterpoint, melodic writing and score analysis. The J Koh's instructional approach is academic and systematic; yet musically conceived with graphical layouts and selective examples. There are 2 parts to this coursebook. Part I - Harmony The principles of harmony are introduced here: 4-part writing, 2-part counterpoint, concepts of traditional chord progression, use of inversions, principles of voice-leading, and the use of non-harmony notes. Harmonic guidelines and rules are clearly explained with relevant examples. Exercises are progressively structured to ensure a strong grasp of the theoretical concepts. Part II - Melodic Composition and Analysis Meloic composition is taught through an analytical approach. The concepts of phrasing, use of motifs, modulations and melodic contour are illustrated with authentic extracts. By taking students through the works of the great masters, their technical skills are sharpened, enhanced with useful tools for the creative compositional process. Skills in score analysis involve the acquisition of sound musical knowledge - the study of forms, genres, history of western music that spans 4 centuries, along with the composersÂ’ works and styles. Appendices II and III provide guidance for basic research needed at this level. The essential and highly recommended reference texts are: Musical Forms and Terms and Understanding Orchestration, The Orchestra and Its Instruments.

SKU: BR.OB-5562-15

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-15. Published by Breitkopf and Haertel (BR.OB-5562-15).

ISBN 9790004342282. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).