eBook - ePub
The Craft of Tonal Counterpoint
Thomas Benjamin
This is a test
Partager le livre
- 432 pages
- English
- ePUB (adapté aux mobiles)
- Disponible sur iOS et Android
eBook - ePub
The Craft of Tonal Counterpoint
Thomas Benjamin
DĂ©tails du livre
Aperçu du livre
Table des matiĂšres
Citations
Ă propos de ce livre
First Published in 2003. The Craft of Tonal Counterpoint is an introductory text to the analysis and composition of tonal counterpoint. Using examples from the music of J.S. Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, linear pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores, effective for analysis, in-class performance, and compositional models.
Foire aux questions
Comment puis-je résilier mon abonnement ?
Il vous suffit de vous rendre dans la section compte dans paramĂštres et de cliquer sur « RĂ©silier lâabonnement ». Câest aussi simple que cela ! Une fois que vous aurez rĂ©siliĂ© votre abonnement, il restera actif pour le reste de la pĂ©riode pour laquelle vous avez payĂ©. DĂ©couvrez-en plus ici.
Puis-je / comment puis-je télécharger des livres ?
Pour le moment, tous nos livres en format ePub adaptĂ©s aux mobiles peuvent ĂȘtre tĂ©lĂ©chargĂ©s via lâapplication. La plupart de nos PDF sont Ă©galement disponibles en tĂ©lĂ©chargement et les autres seront tĂ©lĂ©chargeables trĂšs prochainement. DĂ©couvrez-en plus ici.
Quelle est la différence entre les formules tarifaires ?
Les deux abonnements vous donnent un accĂšs complet Ă la bibliothĂšque et Ă toutes les fonctionnalitĂ©s de Perlego. Les seules diffĂ©rences sont les tarifs ainsi que la pĂ©riode dâabonnement : avec lâabonnement annuel, vous Ă©conomiserez environ 30 % par rapport Ă 12 mois dâabonnement mensuel.
Quâest-ce que Perlego ?
Nous sommes un service dâabonnement Ă des ouvrages universitaires en ligne, oĂč vous pouvez accĂ©der Ă toute une bibliothĂšque pour un prix infĂ©rieur Ă celui dâun seul livre par mois. Avec plus dâun million de livres sur plus de 1 000 sujets, nous avons ce quâil vous faut ! DĂ©couvrez-en plus ici.
Prenez-vous en charge la synthÚse vocale ?
Recherchez le symbole Ăcouter sur votre prochain livre pour voir si vous pouvez lâĂ©couter. Lâoutil Ăcouter lit le texte Ă haute voix pour vous, en surlignant le passage qui est en cours de lecture. Vous pouvez le mettre sur pause, lâaccĂ©lĂ©rer ou le ralentir. DĂ©couvrez-en plus ici.
Est-ce que The Craft of Tonal Counterpoint est un PDF/ePUB en ligne ?
Oui, vous pouvez accĂ©der Ă The Craft of Tonal Counterpoint par Thomas Benjamin en format PDF et/ou ePUB ainsi quâĂ dâautres livres populaires dans Mezzi di comunicazione e arti performative et Teoria e gusto musicale. Nous disposons de plus dâun million dâouvrages Ă dĂ©couvrir dans notre catalogue.
Informations
Chapter 1
Line and Other Elements of Style
Here are a number of melodies drawn from the instrumental works of Bach. Perform each one a number of times.1
Shape; Tonal Framework; Ranee and Tessitura
Most effective musical lines are clearly shaped. Bachâs music derives much of its strength from being clearly directed toward melodic and harmonic goals. An effective melody makes a clear overall contour, which we can represent graphically as a line. The overall shape will normally seem balanced and in repose, with ascending curves balanced by descending curves; this will often be mirrored in the localized, bar-by-bar shapes. In short, the same shaping processes (gestures) often control all aspects of melodic structure when the music is of high quality.
Note in example 1-13 the tonally and metrically clear starting point, the swift rise to the tonic octave and the more gradual fall to the dominant note in a strong cadence. This is but one of many possible melodic shapes; you will have observed several others in the music at the beginning of this chapter. The climactic point may or may not be obvious in a given melody; it may be a low rather than a high note; it often occurs near the end of a phrase, with the line then falling quickly into a strong cadence (see especially exs. 1-2, 1-3, and 1-11). A climactic note may be emphasized by its length, height or depth, identity as a strong scale degree (such as tonic or dominant), metrical position, and by reiteration and return. Often it is approached by a leap from below, and may be a tied or dotted value (see ex. 1-13, m. 3). Following the main climactic note, there may be a secondary high point or two, and a scalar descent, as in ex. 1-13.
The tonal framework formed by the most emphasized low and high notes will tend to clarify the tonality. The framework of the excerpt above can be heard as e1 to a2, or a1 to a2, both emphasizing the key of A major. Typical tonal frameworks are:
There is often one note outside the framework, related as a neighbor note to the high or low pitch, as for example:
Range is primarily a function of instrument and idiom, although melodies encompassing more than a twelfth (unless involving compound line) are quite rare. The tessitura (the âheartâ or most often used portion of the range) is typically about an octave.
Your written work should (at the discretion of your instructor) be playable in two hands and conform to the range of Bachâs writing in the Well-Tempered Clavier, great C to C3,âthat is, from two octaves below âmiddle Câ to two octaves above it.
What will not be found here, or in any well-shaped music, are shapes that seem aimless, flat, too wide-ranging, or jagged. One rarely finds unidirectional contours such as or , steep or jagged outlines like or narrow, oscillating patterns such as (which arise from overemphasis on one pitch or one part of the range). These shapes may be made to work on a localized scale only if incorporated in a larger-scale directed contour. For example, mm. 3-5 of example 1-13 oscillate around a2, but only as an incidental detail in a clear overall shape.
Exercises
- Perform and critique the newly composed âmelodiesâ on p. 34 in terms of shape and tonal framework.
- Identify the range and tonal framework in examples 1-1 to 1-12. Which scale degrees are involved in these frameworks? Identify the tessitura (this is often a somewhat subjective judgment).
- Identify the climactic moments in melodies selected from examples 1-1 to 1-12. Discuss how these are achieved (approached, emphasized, left). Represent the contour of each of these melodies with a line drawing, and compare the contours of several melodies.
- Perform in class other lines by Bach, perhaps from works you already know or are preparing for performance, and discuss them in terms of shape and framework, as well as performance-practice issues.
Structural Pitches
Sample Analysis (of Example 1-13) 2
There is no question that some pitches are perceived as more fundamental than others, as more âstructural.â We can easily show these hierarchies of pitch in some such graphic way as in example 1-15. It should be emphasized that such reductions are to some extent subjective, based as they are on each individualâs hearing of and thinking about a given work. Awareness of the directed shapes formed by the structural pitches is important to our understanding of the shaping processes in music, and our ability to hear, perform, and write musically.
The shapes formed ...