By Robert Gauldin
Gauldin has ready a ebook which leads you rigorously and methodically via counterpoint. The books assignments are its maximum assest. simply because they generally construct on past assignments, ascertain to not bypass any. the teachings are competitive, yet simply in the course of self-study.
Read or Download A Practical Approach to Eighteenth-Century Counterpoint PDF
Best composition & performance books
The main primary debate within the philosophy of track consists of the query of even if there's an artistically very important connection among tune and the sentiments. Many theories of the character and value of song as an artwork shape have maintained that no less than one vital price of tune is its means to symbolize, show, converse, or characterize numerous extra-musical feelings or a undeniable point of emotion.
Pressured via a hand harm to desert a profession as a pianist, Robert Schumann went directly to develop into one of many world's nice composers. between many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the 3rd, or Rhenish, Symphony (1850) exemplify his infusion of classical varieties with excessive, own emotion.
What does it suggest to appreciate track? What, if whatever, does tune suggest? Composers, performers, listeners, and lecturers might resolution those questions in a different way, yet what experience of song do they percentage? while song turns out unexpected or not like whatever we have now heard earlier than, we could say that we do not "like" it.
- Beyond the Baton: What Every Conductor Needs to Know
- Shinichi Suzuki, his speeches and essays
- Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music
- Listen, 7th edition
- The musical topic: hunt, military and pastoral
- Digital Performer Power!
Extra resources for A Practical Approach to Eighteenth-Century Counterpoint
Let’s ask an imaginary jazz musician (“JM”) some questions about soloing in a jazz band: MS: How do you know what to play during your solo? JM: Well now, that’s a good but complex question. Let me see if I can break it down for you: If the group is playing a song like “Watermelon Man,” then my solo would be based upon the chords that the composer wrote to support his melody. There are a number of notes that make up each chord and, as a soloist, I’m free to choose which of those notes I want to play in my solo.
Pages cm. — (Listener’s companion) Includes bibliographical references and index. ISBN 978-0-8108-8289-8 (cloth : alk. paper) — ISBN 978-0-8108-8290-4 (ebook) 1. Jazz—Analysis, appreciation. I. Title. 48-1992. Printed in the United States of America. Each thing you hear determines the direction that you go. You just follow the music and if you follow the music, you can go anywhere. —Steve Lacy My first relationship to any kind of music is as a listener. —Pat Metheny Contents Contents Foreword Preface Acknowledgments Chapter 1: Ears, Mind, Heart Chapter 2: Groundwork Chapter 3: Jazz as a Mirror of Our Times Chapter 4: Jazz as a Mirror of Our Times Chapter 5: Functions and Forms Chapter 6: Points of Departure Chapter 7: Horn of Gabriel Chapter 8: Raspy, Gaspy, Smooth, and Silky Chapter 9: Reeds and Deeds I Chapter 10: Reeds and Deeds II Chapter 11: Reeds and Deeds III Chapter 12: Reeds and Deeds IV Chapter 13: I Got Rhythm I Chapter 14: I Got Rhythm II Chapter 15: I Got Rhythm III Chapter 16: I Got Rhythm IV Chapter 17: I Got Rhythm V Chapter 18: The Singer and the Song Chapter 19: Is Jazz Entertainment or Is It Art?
Maupin’s actual answers (in a 2010 personal interview): MS: How do you decide what compositions to play before each set? BM: We use our spare moments in taxis, airports, hotel rooms, and restaurants to discuss the compositions that we may perform. The music actually begins with those dialogues and continues onto the bandstand. It’s very rare that I create a set list, as things change so much from moment to moment. Over a 10-year period of creating together, we’ve developed a deep connection that allows us the freedom to manifest our direction through musical signals and nonverbal communication.