Tonal CounterpointLulu.com, 2019 M11 30 - 270 páginas Attention is particularly called to the fact that very few rules are given as to " what not to do " in music. Almost anything can be done at some time or other (for music is not a matter of morals), when for the sake of special effect a departure is made from the normal rules. What is needed is a well-trained instinct as to whether any given effect justifies itself. In no way is this power gained so surely or quickly as by a thorough study of the compositions of the great masters, Bach, Handel, Haydn, Mozart, Beethoven, and others. No one ever becomes a geologist merely by the study of books on the subject but rather by going out into the fields and examining the works of nature at first hand. Likewise in music, example is much better than precept. Very few prohibitive rules will be found in this book, and as far as possible every suggestion and recommendation is confirmed and illustrated by an example from some standard composer. |
Contenido
PREFACE | 1 |
TWO NOTES AGAINST ONE | 67 |
I | 79 |
THIRD | 109 |
THIRD ORDER | 119 |
THREEPART COUNTERPOINT INTRODUCING | 139 |
FOURPART WRITING FOR VOICES | 154 |
WRITING FOR STRING QUARTET | 236 |
SUPPLEMENTARY EXERCISES IN VARIOUS STYLES | 248 |
Otras ediciones - Ver todas
Tonal Counterpoint: Studies in Part-writing Walter Raymond Spalding Sin vista previa disponible - 1932 |
Términos y frases comunes
1st Violin accented passing note alto voice analyze Andante arpeggio auxiliary note Bach bass beat BEETHOVEN cadence Cello changing notes CHAPTER chief melody choral chromatic Clavichord combinations composer composition consecutive fifths contrapuntal counter cresc diatonic dissonant dominant seventh double counterpoint effect example exercises fifths and octaves florid flowing four notes fourth Fugue fundamental position HANDEL harmony note Haydn imitation inner voices interest interval introduced leading tone leap let the student lower voice major measure melody minor mode minor scale modulation motion Mozart octave outer voices outline part-writing passage perfect fifth phrase pianoforte possible Prelude progression range related keys repeated notes SCHUMANN second inversions seldom seventh chord simple six-four chord sixth degree skips Sonata soprano string quartet style suspension Symphony syncopation terpoint third three-part tion tonality tonic transposed treated triad two-part writing upper voices varied Viola Cello Violin vocal writing for strings