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Provides students with music from the great composers to study before attempting to write themselves. Discussion of the elements of music pertinent to an understanding of the 18th century counterpoint are included.
Practical work in writing counterpoint! This volume emphasizes developing analytical and writing skills in the contrapuntal technique of the eighteenth century. The orientation is strongly stylistic, dealing mainly with the polyphony of the late Baroque period. Three aspects are stressed throughout: practical work in writing counterpoint, utilizing various textures, devices, and genre of the period; historical background, to establish the origins of different forms and justify the pedagogical method employed here; analysis of selections from music literature, often in voice-leading reductions. After an opening chapter that reviews some general features of the late Baroque period, there is a brief survey of melodic characteristics, and a study of procedures associated with two, three, and four voices.
Designed for courses in Music," this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work. Copyright © Libri GmbH. All rights reserved.
This text begins with a species approach to counterpoint supported by a simultaneous synthesis of the resources of 18th-century harmony. Graded exercises seek to unify the principles of counterpoint and harmony in an expanding craft. Chapters on melodic transformation and variation, invertible counterpoint, imitation and canon follow the introductory section and these chapters are, in turn, followed by chapters addressing the harmonic, melodic, and formal organization of model 18th-century works. The last chapters cover, in order, guided original composition in Two-Part Invention, Chorale Prelude, Three Voice Fugue, Passacaglia, and Double Fugue form.
Practical work in writing counterpoint! Gauldin emphasizes the acquisition of writing skills in the contrapuntal discipline and the simulation of sixteenth-century sacred polyphonic idioms in this volume. The author follows a didactic method of a non-species or direct approach. While no previous contrapuntal training is necessary to absorb this material, some acquaintance with Baroque polyphonic terminology proves helpful. Key features include: musical examples illustrating specific devices are taken from musical literature or composed by the author; demonstrates the possibility of employing a single given pitch series within the contexts of different compositional techniques; includes a collection of complete or excerpted movements drawn from musical literature at the conclusion of each major textual division; emphasizes Palestrina and the Counter-Reformation sacred style; discusses various compositional procedures of the late Renaissance, including paraphrase, cantus firmus, familiar style, parody, polychoral technique, and chromaticism.