FOOTNOTES:[39]An examination of any one of the best folk-songs quoted in Chapter II, or the melodies of Bach, Handel, Haydn or Mozart quoted in succeeding chapters, will show how important an element of melody is this curve or outline.[40]The themes in the minuet and finale of Haydn's "Emperor" quartet have a slight similarity of contour.[41]Published for piano, two or four hands, by Peters, Leipzig. For convenience of reference, number all measures and parts of measures consecutively.[42]The presence of measure 389—which is silent—has been a subject of discussion among musicians: it is sometimes omitted in performance.[43]"Evolution of the Art of Music," Chapter XII.[44]"Oxford History of Music."
FOOTNOTES:[39]An examination of any one of the best folk-songs quoted in Chapter II, or the melodies of Bach, Handel, Haydn or Mozart quoted in succeeding chapters, will show how important an element of melody is this curve or outline.[40]The themes in the minuet and finale of Haydn's "Emperor" quartet have a slight similarity of contour.[41]Published for piano, two or four hands, by Peters, Leipzig. For convenience of reference, number all measures and parts of measures consecutively.[42]The presence of measure 389—which is silent—has been a subject of discussion among musicians: it is sometimes omitted in performance.[43]"Evolution of the Art of Music," Chapter XII.[44]"Oxford History of Music."
FOOTNOTES:
[39]An examination of any one of the best folk-songs quoted in Chapter II, or the melodies of Bach, Handel, Haydn or Mozart quoted in succeeding chapters, will show how important an element of melody is this curve or outline.
[39]An examination of any one of the best folk-songs quoted in Chapter II, or the melodies of Bach, Handel, Haydn or Mozart quoted in succeeding chapters, will show how important an element of melody is this curve or outline.
[40]The themes in the minuet and finale of Haydn's "Emperor" quartet have a slight similarity of contour.
[40]The themes in the minuet and finale of Haydn's "Emperor" quartet have a slight similarity of contour.
[41]Published for piano, two or four hands, by Peters, Leipzig. For convenience of reference, number all measures and parts of measures consecutively.
[41]Published for piano, two or four hands, by Peters, Leipzig. For convenience of reference, number all measures and parts of measures consecutively.
[42]The presence of measure 389—which is silent—has been a subject of discussion among musicians: it is sometimes omitted in performance.
[42]The presence of measure 389—which is silent—has been a subject of discussion among musicians: it is sometimes omitted in performance.
[43]"Evolution of the Art of Music," Chapter XII.
[43]"Evolution of the Art of Music," Chapter XII.
[44]"Oxford History of Music."
[44]"Oxford History of Music."