COUNTERPOINT IN COMPOSITION SALZER SCHACHTER PDF

Felix Salzer – Counterpoint in Composition (the Study of Voice Leading) – Ebook download as PDF File .pdf) or view presentation slides online. COUNTERPOINT IN COMPOSITION by Felix Salzer and Carl Schachter. McGRAW-HILL BOOK COMPANY, NEW YORK, , p. REVIEWER. The late Felix Salzer was a Professor at Queens College, City University of New York, and the author of Structural Hearing. Carl Schachter is a Professor at.

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Counterpoint in Composition: The Study of Voice Leading

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Harmony and Voice Leading. Modulation Dover Books on Music. Editorial Reviews Review This book may become the most important music theory book for the next few generations of theorists, composers and performers. Schachter assembled it to show the connections between the simple procedures of species counterpoint and the complexities of composition, an approach to counterpoint deriving from the work of Heinrich Schenker.

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Counterpoint in Composition : Felix Salzer :

Please try again later. This is commposition the first 38 pages out of the pages compoition this book. Then you are finished. I’m sure lots of people have been in this situation: This book is excellent and thorough, ocunterpoint counterpoint not only as a theoretical grounding for later harmonic theory, but also examining its use in large-scale composition. Some procedures are flatly forbidden that more relaxed authors — like Jeppesen — excuse in instances where fudging the rules produces a beautiful voice leading.

In other words, their tone is not exactly encouraging- compared to ‘The Student’, your early efforts are bound to feel compozition clumsy at least mine were. Still, this is a nice book with lots of good exercises and examples drawn from real music literature. Not only explains concepts in a great Not only explains concepts in a great manner but also has examples of both good and bad counterpoint with reasoning why and gives exercises to do as well. One person found this helpful. Very good book for learning counterpoint.

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I am going through the book myself–a review said any musician should be able to do so. Clear, relatively easy to understand.

I like compositoin organization of it. Came on time and well packaged. Won’t show you how to write like Palestrina, but gives you something more important–the structural basis for all the literature from Monteverdi to Brahms. An important work for my composer and singer son.

I must differ with the reviewer who said in that this book is “fairly new. My experience was that the typical undergraduate music major found it composigion rough going, but maybe I wasn’t the best teacher back then, either!

I myself learned a lot from the book. As far as I know, it’s the only book on counterpoint that successfully illustrates how composed music e. This should be an answer to the student who has trouble seeing the value of those seemingly endless and amazingly difficult!

I agree with the reviewer who pointed out that the authors are not always consistent with earlier books with respect to the rules of species counterpoint. However, it must be said that in most cases they point this out and supply sxhachter reason for their departure from tradition.

For schcahter, I think that part of the reason they don’t allow voice crossing in the species exercises is that part crossing is a “pure” contrapuntal saler that would severely weaken the polarity or independence between the two voices, and make cloudy the connection they seek to establish between the species approach and the techniques of prolonged counterpoint aka “real” music they discuss later in the book.

I have no problem with that. Neither do I have a problem with Jeppesen allowing voice crossing in species counterpoint, because he’s approaching the technique with a different goal in mind, namely that of imitating the style of Palestrina. The two books have different aims, and the prospective user should be aware of that. The point about the authors’ prose style that one reviewer made is very well taken. To me it is overly pompous and inflated, and many of their points could be made in far fewer words.

It’s a little suggestive of the image that the authors occupy a lofty perch from which they toss down a few crumbs of learning from time to time to students, but even as they do so, they don’t think the students are really worthy of receiving this wisdom. Maybe that’s a bit harsh, but I really can’t see my current students warming up very much to this kind of writing.

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There is definitely no feeling that “you too can succeed in writing excellent counterpoint” here. Times do change, after all. If you are reading this review you are perhaps either a teacher looking for a good text, or a musician who wants a stronger theory background. By all means get this book and learn from it.

But don’t let the authors’ prose style make you feel inferior, like a lowly worm who, no matter how hard he or she tries, can never achieve results worthy of the masters.

Better just to accept them for the pretentious pedants they are, and forgive them for it. See all 12 reviews. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway.

The Study of Voice Leading. Set up a giveaway. What other items do customers buy after viewing this item? Tonal Counterpoint for the 21st-Century Musician: An Introduction Kindle Schhachter. Customers who viewed this item also viewed. The Principles and Practice of Tonal Counterpoint. There’s a problem loading this menu right now. Learn more about Amazon Prime.

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