Inhaltsangabe
What makes a collection of notes a good piece of music, something that gets stuck in our brain? Why is it that we keep listening and enjoying the music of Bach, Mozart and Beethoven – composers long dead two hundred years ago? What makes a piece of music memorable? What are the rules of the grammar behind the music of the great masters? If we can understand the rules – then we could also teach them to kids. The first chapter of this book explains in plain words (or tones) the grammar of classical music. The next chapters describe a practical method that could be used by kids (or any adult interested in composing good music) to learn the basics, and some more, directly from the works of the great composers of classical music.
Über die Autorin bzw. den Autor
I published three books on Modulation. The first was "Modulation in Classical Music". It was written in 2016 and can be downloaded for free from the IMSLP website. The book is in a format of a "research dissertation", trying to cover everything. It has two chapters that you will not find in the other, more recent, books. One chapter ("Chapter 3") is on string quartets composed by Haydn, Mozart and Beethoven. Another chapter ("Chapter 4") explains the computer code used to generate the modulation graphs. The second book I wrote was "Modulation in Classical Music for Young Musicians". I published it in 2017 and can be purchased from Amazon or from your local bookstore. It is directed to a young audience, teenagers attending Middle or High School. You will find here a gradual step-by-step teaching of the grammar of classical music, with many examples taken from works by Bach, Haydn and Mozart. The third book I wrote is "Modulation in Beethoven's sonatas". I published it in 2018. The basic requirement to read this book is technical and artistic maturity. If you are already playing Bach, Haydn and Mozart, this book is for you. As the previous book, it can be purchased at Amazon or from your local bookstore. How these books came about? Everyone learns how to write a text message and a one-page "Curriculum Vitae". A few become later great novelists and writers. I reasoned that if the young generation could receive a good education in the grammar of classical music and how the classical composers used it when they created their works, then they could be encouraged to write simple music compositions. There is no essential difference between learning how to write in a common language and how to write music. And - as in any other field of the Arts - a few of them could become great artists and composers of good music. The author is a Physicist (PhD in Physics) and Engineer in the Silicon Valley, California. In his free time he enjoys reading books and - sometimes - playing the piano.
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