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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Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. 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. Echachter 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.
Countfrpoint all Editorial Reviews. Product details File Size: July 15, Sold by: Share your thoughts with other customers. Write a customer review. Showing of 12 reviews.
Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. This is essentially the first 38 pages out of the pages of this book. Then you are finished. I’m sure lots of people have been in this situation: This book is excellent and thorough, covering 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.
Counterpoint in Composition: The Study of Voice Leading by Felix Salzer
In other words, their tone is not exactly encouraging- compared to ‘The Student’, your early efforts are bound to feel pretty 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 sdhachter this helpful. Very good book for learning counterpoint. 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 the 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.
Counterpoint in Composition: The Study of Voice Leading
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 ln the typical undergraduate music major found it rather rough going, but maybe I schachyer 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.
Counterpoint in Composition : Felix Salzer :
This should be an answer to the student who has trouble seeing the value of cointerpoint 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 a reason for their departure from tradition. For example, 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 technique 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 cmposition user should be aware of that.
The point about the authors’ prose style that one reviewer made is very well taken. To me clunterpoint 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 countepoint 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.
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 Edition. Customers who viewed this item also viewed. The Principles and Practice of Tonal Counterpoint.
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Counterpoint in Composition : The Study of Voice Leading
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