Download The Big Book of French Songs: Popular Songs, Movie Hits, by Hal Leonard Corp. PDF

By Hal Leonard Corp.

A tres magnifique number of 70 songs from and approximately France: April in Paris * Autumn Leaves * past the ocean * Can Can * C'est Magnifique * Comme Ci, Comme Ca * I Dreamed a Dream * i like Paris * Je Ne Sais Pas (To You, My Love) * los angeles Marseillaise * allow or not it's Me (Je T'appartiens) * a guy and a lady (Un Homme Et Une Femme) * My guy (Mon Homme) * Non, Je Ne Regrette Rien * The terrible humans of Paris (Jean's music) * Sand and Sea * Un Grand Amour (More, extra & extra) * the place Is Your center * and extra.

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Melody is the first real mode of [musical] art; at the same time, it is the simplest. The foundation of tonal ordering will soon be shown more closely.  And now we have also learned to distinguish tones that are rhythmically more, and less, important. If our melodies are to be completely rounded off rhythmically, we must take pains that their initial and final tones, or the latter in any case, be rhythmic main parts and stand out more weightily. The above melody indeed begins with a main part but does not close with one; the final tone has no accent, and the entire melody seems to die away, since its final tone, as a subsidiary part, carries no weight.

Previous page page_14 next page > Page 14 alone, etc. In addition, he employs both bold face and Sperrdruck (spaced type) for emphasis. In the last two cases, I have generally resorted to italics. My use of different editions for the various excerpts from Marx's treatise on composition merely reflects which editions were available to me at different stages of this project. In any event, the translated excerpts on sonata form from Vol. 3 are nearly identical in the second and fourth editions (the two editions I worked from in Part II); the latter edition restricts its alterations to matters of punctuation and orthography I have chosen not to translate the words Satz and Gang, as well as several of their compounds.

14 {51} And precisely because the whole spirit is in its highest form of activity during inspiration, that inspired state is neither unconscious nor dreamy, nor is it a [condition of] being outside of itself, but rather is the deepest inwardness, the highest strength of the psychic being,15 the highest consciousness;16 that intoxication, that sweet drunkenness of inspiration, betrayed to us by the lips of many a poet, is thus nothing other than the rapture of the soul that feels itself to be whole and complete in one Idea or feeling.

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