FZ Degwle awe stem au in ae alia tn a “Teen Se as Endited with annotations. etc. by J HCornel. — e”~*«CéBK LL: THeach $1.00,2208 PREFATORY OBSERVATION. Impelled by the conviction that the feeling and intelligence for the polyphonic * style cannot be too soon awakened in the youthful player, the composer set ahout writing a series of studies primarily calculated to exemplify this style in the simplest and clearest manner, at the same time affording the pupil occasion for practice in rhythmical difficulties and in ensemble-playing with confidence and certainty. . If the interest in contrapuntal combinations, ever growing with the Labor, led the composerto i dulge in some of the more complicated canon - forms. as that of contrary motion. and of anginen. tation and diminution, as also in puiting together different metres, and even in the freak of a Canon cancrizans, he would only ask that the constraint which such fetters necessarily impose. be made, in the rendering of the pieces concerned, as little noticeable as may he possible. Leipzig, April, 1974. Carl Reinecke. ©The expression “polyphonic.” i.e, “many. voiced” is applied in modern times to music set for two or more voices instrumental or human, each voice having its own independent melody, and heing, in so for, equally a principal voice with any of the others. Examples of this style are the Fugue, the Canon, ete. The antithesis of the polyphonic style is the “homophonic.” implying one prin- cipal voice, with other voices forming merely an accompaniment. An example of this style is the ordinary Song or Ballad with pianoforte accompaniment, the instrament in this ease furnishing the ac - companying voices, in the form of chords, broken or otherwise. Some song - accompaniment. however instead of consisting of more chords, have a contrapuntal character, with independent melodies in the parts, examplesof which may be seen in the songs of Sebastian Bach, Robert Frans, ete. Such ‘accompaniments are in the polyphonic style it is needless to observe that they require greater mu- sicianship, and are more worthy of study. than those of the ondinary type. (Béitor.) Copyright 1879 by 0. SchirmerSECONDO. DIALOGUE. (ZW 1EGESPRACH) , (Cale nthe oelez) Carl Rvineeke. Op. 430. Bh. 1. =~ (Canon inthe Octave) Allegretto vivace e scherzando, ten, Canon, a kind of composition in whieh musical subject. ix taken up and repeated by snather yuice ralled the consequent the upper or lower ete. The wld in each of these Canons. pint out the sujeet down, one tave, or PYfthor Sixth, 1 its repetition by the eansryu tte the best ‘anonya in the follo examples, 2301PRIMO. . 5 1 DIALOGUE (ZWIEGESPRACH) (Canon in the Octave.) Andantino. — 2 I. (Canon in.the Octave.) Allegretto vivace e scherzando. fen, . gn,SECONDO. LANDLER.» Allegretto quasi Andantino. (Canon in the Octave.) * A German nation 2201PRIMO. 7 _ Il. LANDLER. (Canon in the Octave.) fee ey ee Allegretto quasi Andantino. , 23088 SECONDO. HUMORESKE. ” (Canon in the Oct Vivace. scherzando. = i : f ) | ‘PHumoresques & form of composition expressive, as its name implies of humor, and requiring a corresponding manier of ren- dering. 2308PRIMO. IV. HUMORESKE. (Canon in thé Octave.)SECONDO. 10 Vv. (Canon in the Octave:) Allegro molto, quasi: Presto.PRIMO. u V. \ Allegro molto,.quasi Presto. (Canon in the Octave.) 220112, SECONDO. . a VI. TARANTELLE. __(Canon in the Oetave,) & Ee ae, Molto vivace. Pp catando, - ~PRIMO. 8 VIL TARANTELLE. (Canon in the Octave.) a a <> Tote Molto. ‘vivace. rt1” 2201 SECONDO. Vil. (Canon in the Octave) Moderato. mf con grazia.5 PRIMO. u VIL. in the Octave.) Moderat ie 23012 SECONDO. VIII. ELEGY. (ELEGIE,) (Canon by Diminution)» Lento ma non troppo. j fa Tk. CAPRICCIO, Vivace, ty ian Style. WAC. (Ungarisch.) 3 agente) Smo fae That is. in which the consequent repeats the subject in diminished rhythm. in other words, in totter notes. substitufing a quarter for a half-note. m wm eighth for a quarter. a sixtecth for an eighth rte. as for exemple on reat aase Cari IZ9 8 6 Soho meePRIMO. Vu. ELEGY. (ELEGIE,) (Canon by Diminution) Carl Reinecke, Op. 130. Bk.2. Lento ma non troppo. 3 a 2 £ = 2 ae £ = pin ix. CAPRICCIO. Example: ete. 2302a SECONDO. Mazurka. (The quarter-notes as before) : a EaPRIMO. . 5 Mazurka. (The quarter~notes_as before.) 2 In this species of Canon every ascending progression of the antecedent is answered inthe consequent by a descend - BB ome, aad vice versa,PRIMO. xi. SCHERZO. Molto vivace. (Canon in Contrary Motion.) : - aA tAas02a SECONDO. XII. CHORAL IN THE AEOLIAN” MODE. CHORAL IN ,MODO AEOLICO. (Canon (With solemnity, yet not too slow.) (In feterlicher Weise. dock nickt xu langsam.) werizans.)**) Con moto. a) ea == ” The ancient name forthe Normal Minore Mode of our modern mu hia a: FSS SS That is. "in erab-fashion® so ealled became the Canon can be read backwards as well as forwards. For WF it backwords. turn the music upside down, jeal system. of which the model Seale ~ ** The Double note. formerly ealled “Breve,” equal to two whole notes. sus > = Bae (mpeFuvy ax roy yoop ‘aay sayysnef Hp) ~-oyou w0g, (eaoys. 00) your yas “Kyrumaqos TEMA) sys Be (sueztomes uoue) ‘OD110E¥ OGOK NI TKUOHD “300OW NVITO3V 3HL NI TVHOHO 2302 “ond\ PRIMO, XI. CHORAL IN THE AEOLIAN MODE. CHORAL IN MODO AEOLICO. (Canon canerizans.) (With solemnity, yet not too slow.) “(In feterticher Weise, doch nicht su langsam,) & 22282 2s sf Con moto. = i 6 Ie (4 ‘allo (nt = lit le 1m (hoe S2e2 2 = 22,2 22 ses > = = (uave Suny ne syore yoop “ona g1 sauemnsaef w) Camps vo} you oS SSyyutusyoe Myegy) “VOM ZOD (suezyioues vom) ‘OO1T0a¥ OdOK NI ‘TFHOHD *300W NVITO3¥ 3HL NI ‘TWHOHO “IX -oaxooas a 2502