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-- Stanley Persky, City University of New York
The most celebrated book on counterpoint is Fux's great theoretical work GRADUS AD PARNASSUM. Since its appearance in 1725, it has been used by and has directly influenced the work of many of the great composers, including J.S. Bach, Haydn, and Beethoven. Originally written in Latin, this work has been translated in to the principal European languages. The present translation by Alfred Mann is the first faithful rendering in English, presenting the essence of Fux's teachings.
In this groundbreaking book, Tymoczko uses contemporary geometry to provide a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz.
Explores the contrapuntal element in significant works from the eighteenth and nineteenth centuries for the music student who fully understands the composition of harmony
This volume introduces readers to the central debates oforganization studies through a series of 'point' and 'counterpoint'debates by major figures in the field. Introduces readers to the central tensions and debates oforganization studies. Celebrates the productive heterogeneity of the field by placingcompeting perspectives side by side. Includes contributions from major figures in the field. Structured in an innovative 'point' and 'counterpoint'format.
Counterpoint manuals have long been central to the music education of composers, historians, and theorists. In this book a conductor uses counterpoint exercises to aid musicians in becoming sensitive to the fundamental ingredients of good music making.
This book is a study and critical edition of Mendelssohn's composition exercise book from his early period of study with Carl Friedrich Zelter (1819-1821). The workbook illustrates in considerable detail the young musician's struggle to master the rules of part writing and principles of counterpoint. Much of Zelter's systematic teaching method is grounded in the eighteenth-century theoretical tradition of Berlin; not surprisingly, the exercises bear the stamp of the music of J. S. Bach, which heavily influenced such Berlin musicians as C. P. E. Bach, C. F. C. Fasch, Marpurg, Kirnberger, Zelter and Mendelssohn. There is little doubt that the historicist attitude of the mature Mendelssohn - as seen in his efforts to revive the works of Bach and Handel and in his propensity toward strict contrapuntal techniques in his own music - was conditioned by these studies with Zelter. The publication of the workbook sheds new light on the early development of one ofthe most important nineteenth-century composers who, though affected by the new wave of romanticism that swept over Europe, never lost his respect for the past. No less important, the manuscript includes several previously unpublished pieces which rank among Mendelssohn's earliest compositions.
(Berklee Guide). Use counterpoint to make your music more engaging and creative. Counterpoint the relationship between musical voices is among the core principles for writing music, and it has been central to the study of composition for many centuries. Whether you are a composer, arranger, film composer, orchestrator, music director, bandleader, or improvising musician, this book will help hone your craft, gain control, and lead you to new creative possibilities. You will learn "tricks of the trade" from the masters and apply these skills to contemporary styles. Online audio examples illustrate the principles being discussed, and many recommended listening lists point you to additional examples of how these principles have been used in music over the past thousand years.