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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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Paperback. Condition: 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. Seller Inventory # 9781330326749_0
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Tonal Counterpoint : Studies in Part-Writing (Classic Reprint)
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