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Found 3 results

  1. Hello Just in case of the slim chance that someone who visits here owns Paul Hindemith's book "The Craft of musical composition, Book 1: Theory" I have a question to ask about "degree-progression" that is confusing the hell out of me and if someone here understands it better and could explain it to me it would be greatly appreciated. Hindemith lists the harmonic value of a chord movement first by a fifth: "A progression based on the interval of a fifth between it's roots naturally has a surer foundation than one based on a minor sixth; this is the strongest of all chord progressions" and shows an example of a CMaj chord moving to a GMaj chord. The next strongest chord movement is by a 4th: "the next best chord progression after that based on a fifth is that based on a fourth" and shows an example of a CMaj chord moving to a FMaj chord. So obviously this book differentiates the different chord movements of a fourth and a fifth by stating they have different strength. My confusion is how do you know when the chord progression is a fifth or a fourth? In the example shown a Cmaj chord moving to a Gmaj chord is considered a "fifth". Yet another example in the book shows a G chord moving to a C chord and calls this the movement of a fifth, but the movement "G-C" is exactly the same as "C-F" which was previously said to be a fourth. Hindemith sometimes calls a progression a fifth and then the exact same movement at other points in the book a fourth and vice versa, yet it's not like these are interchangeable as he has already established the difference in strength between a a root movement of a fourth and one of a fifth. I've read it all as carefully as I can but I can't figure out when a chord movement is considered a fifth up or a fourth down/ fourth up or a fifth down. If any understands this could you please give me some pointers?
  2. So, when I first started theory I was told that retrograde (movement from a dominant function chord to a pre-dominant function chord) was strictly forbidden in common practice harmony. However, while working through Hindemith's "Traditional Harmony" I found that several of Hindemith's prescribed progressions in the exercises have retrograde progressions. So, is retrograde strictly forbidden? Are there exceptions? Am I just stupid? Discuss.
  3. I found this quite interesting: Chad "Sir Wick" Hughes Aikman b. 1959 Fox b. 1931 Heiden (1910 –2002) Hindemith (1895-1963) Sekles (1872-1934) I.Knorr (1853-1916) Jadassohn (1831-1902) Liszt (1811-1886) Czerny (1791-1857) Beethoven (1770-1827) Neefe (1748-1798) J.A.Hiller (1728-1804) Homilius (1714-1785) J.S.Bach (1685-1750)
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