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- Author: Michael G Cunningham
- Publisher: AuthorHouse
- ISBN-10: 1418442127
- ISBN-13: 9781418442125
- Format: 21 x 27.9 x 0.6 cm, minkšti viršeliai
- Language: English
- SAVE -10% with code: EXTRA
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Description
DIVISIONAL COUNTERPOINT is a step-by-step course intended to point the student in the direction of Bach's coutrapuntal style. It begins like most other counterpoint texts, but after STEPS 1 and 2 the similarity ends. Here there is a blending of the techniques of Species Counterpoint with that of harmonic progressions. Here, instead of Canti Firmi, there are Guidance lines which may, when necessary, be changed. Within controlled chordal progressions, using chordal skeletons, the emphases are on adding ever-faster lines to achieve the proper composite rhythm, and to maintain the established chordal progression. Dissonance is presented as notes that are merely out of the harmonic context, rather than as absolute abstractions. Part I (a full semester's work) emphasizes short two and three voice exercises. Part II introduces remaining techniques and textures and invites more concentrated work in lengthier compositions and analysis.
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- Author: Michael G Cunningham
- Publisher: AuthorHouse
- ISBN-10: 1418442127
- ISBN-13: 9781418442125
- Format: 21 x 27.9 x 0.6 cm, minkšti viršeliai
- Language: English English
DIVISIONAL COUNTERPOINT is a step-by-step course intended to point the student in the direction of Bach's coutrapuntal style. It begins like most other counterpoint texts, but after STEPS 1 and 2 the similarity ends. Here there is a blending of the techniques of Species Counterpoint with that of harmonic progressions. Here, instead of Canti Firmi, there are Guidance lines which may, when necessary, be changed. Within controlled chordal progressions, using chordal skeletons, the emphases are on adding ever-faster lines to achieve the proper composite rhythm, and to maintain the established chordal progression. Dissonance is presented as notes that are merely out of the harmonic context, rather than as absolute abstractions. Part I (a full semester's work) emphasizes short two and three voice exercises. Part II introduces remaining techniques and textures and invites more concentrated work in lengthier compositions and analysis.
Reviews