Inhaltsangabe
Excerpt from Tonal Counterpoint: Studies in Part-Writing
§1. The first requisite for the student who has just finished the study of harmony is the power to look at music horizontally. Heretofore he has either built up harmonies on a given bass, or placed harmonies below a melody in the soprano. To form correct chords and to connect them in a grammatical and fairly agreeable way has taken other voices, individually and in its relation to the other voices, is chiefly to be considered. The eye must follow each part throughout its range, and the endeavor must be directed toward the formation of a good flowing melody.
§2. A Second point of difference between the study of harmony and counterpoint is this: that whereas the melody has heretofore always been either in the bass or in the soprano, nothing is more common in free part-writing than to find the melody is so placed, there is implied in four-part writing the power to invent a bass which shall be good both harmonically and melodically, and a melodious, interesting soprano, besides one inner part. At the same time these voices must be so planned that the harmonic background, outlined by the notes sounded together on the strong beats, shall be natural and satisfactory.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Reseña del editor
Excerpt from Tonal Counterpoint: Studies in Part-Writing
On the subject of Counterpoint, as that term is generally understood, this book does not profess to be an exhaustive treatise.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Reseña del editor
Excerpt from Tonal Counterpoint: Studies in Part-Writing
§1. The first requisite for the student who has just finished the study of harmony is the power to look at music horizontally. Heretofore he has either built up harmonies on a given bass, or placed harmonies below a melody in the soprano. To form correct chords and to connect them in a grammatical and fairly agreeable way has taken other voices, individually and in its relation to the other voices, is chiefly to be considered. The eye must follow each part throughout its range, and the endeavor must be directed toward the formation of a good flowing melody.
§2. A Second point of difference between the study of harmony and counterpoint is this: that whereas the melody has heretofore always been either in the bass or in the soprano, nothing is more common in free part-writing than to find the melody is so placed, there is implied in four-part writing the power to invent a bass which shall be good both harmonically and melodically, and a melodious, interesting soprano, besides one inner part. At the same time these voices must be so planned that the harmonic background, outlined by the notes sounded together on the strong beats, shall be natural and satisfactory.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Paperback. Zustand: New. Print on Demand. This book tackles the art of counterpoint, a fundamental element of musical composition that involves the weaving together of multiple melodic lines. The author challenges the traditional, historical approach to counterpoint, arguing that the rigid rules often found in textbooks fail to inspire and inhibit the development of truly musical expression. Instead of focusing on strict rules, the book champions a more free-flowing approach, emphasizing the creation of interesting and melodious parts that resonate with the spirit of modern musical styles. The author posits that counterpoint, far from being a separate and unconnected subject, is intrinsically bound to harmony. Both elements, they argue, are integral to the creation of a cohesive musical whole. This book provides practical guidance on how to combine rhythmic and melodic elements within a harmonious framework, ultimately encouraging the student to cultivate a keen sense of musical judgment. Through a thorough exploration of examples from the great masters, like Bach, Handel, Mozart, and Beethoven, the book equips the reader with the tools to move beyond the limitations of traditional counterpoint and to embark on their own journey of musical invention. The bookââ â¢s insightful exploration of the principles of counterpoint will resonate with musicians seeking to unlock their creative potential and delve deeper into the rich tapestry of musical expression. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. Bestandsnummer des Verkäufers 9781330326749_0
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