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Composers Counterpoint

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Composers Counterpoint C O MPO SE RS C O U N T E R P O I N T 5 7 7 0 A S EQU E L TO ST D NTS’ UNTE RP I NT U E CO O , HA E W P A R E C R L . E C S , M D T B . U S . C , AN A , rofessor of Harmon C ounter oin t a nd Com ositi on i n th e Gui dha l P y, p p l l ch M si n ri ni e e Lo ndon S oo of u c a d T t C o . l , y ll g , CHARLES STRE ET, W . R PR T B A L N B E O E S . E E N EZ . O U , Q , ( M . E T US D ( DU L . E P R F R OF M U IC IN T U IV R IT! O F D B I N O ESSO S HE N E S U L , THIS LITTLE BOO K IS INSCRIBED I N GRATEFUL APPRECIATION O F HIS SUCCESSFUL CHAMPIONSHIP OF TH E A E PR CTICE OF COUNT RPOINT , I N A A A A S BOTH ITS ACADEMIC L ND RTISTIC SPECT , B! HIS DISCIPLE AND FRIEND HE TH R T A U O . T C O N T E N S . h a ter C p . Th e T ree Dimensions of Music : Points of I . h ’ ’ difference b etween Students an d C omp osers Coun terp oint ’ Th e Materia used i n C om osers C ounter I I . l p o in t : I A nci en t Tona it th e C urc p ( ) l y , h h Modes , &c . ’ Th e Mat ria used i n om osers o unter I I I . e l C p C oi nt : 2 Modern Ton a it H armonic p ( ) l y , ossibi iti es &c . p l , i i R a D IV . Th e F rst S ec es : Sustained e e ted e p , p , tached an d A r e io H armoni es p gg , Th e S econd S ec ies : A uxi iar N otes &c p l y , Th e Thi rd S peci es Mo difications an d E x pan ’ i ns O f dent R u s o Stu s es & c . l , Th Fourt eci e Fr V I I. e h Sp s : ee Treatm ent of Sus ion n i i a i ens s A t c t ons &c . p , p , V Th e Fift eci es : Doub e o un r i n III . h Sp l C te p o t in th Sv Fu a and ano ni riti n e e . C c w &c . g l g, ’ Co mposers Li c ences with resp ec t to fo rbidden ara e ro ressions Consecuti v e U isons p ll l p g n , nd h th h s 8v s an d h 2 s t s s t e t s . , 4 , 5 , 7 , 9 , &c APPEN DIX . ’ Fift -two E x ercises in C o m o sers C o unter oi nt based y p p , ’ f u r mi . on th e Ca mi F e set i n P ro E . Pro t s A ddi tion a l E x er ci ses to Cou n terp oi n t (A ugener E ach of th e fifty-tw o ex ercises co ntai ns suffi c ient ’ w o rk for one week s p rac tical study ’ In dex to P rout s Additi onal Exercises P E F R A C E . ’ “ OMPOSER S C OU NTERP OINT 3 18 a term c o nven i en tly appli ed to th at furth er for system of train i ng whi ch is necessary . th e acquirement Of th e art Of addi ng in th e style an d manner Of th e best masters melo dies of an indep en dent and contrasted m c a acte to a ed Sub ect or Can to Fer O . h r r fix j , A s an educat ona oc ess t s u t e o i l pr , hi f r h r p ly ph on i c study may be best described as a l egi tima te and l ogi cal develo pment or extensi on Of th at stri cter meth od Of p art- writi n g whi c h h as been termed ” with equal conveni ence Students C oun terp oi n t. In th e academi cal career of a m o dern mus c an th e t me a owed for the stud Of C o m i i , i ll y ’ p osers C ounterp o i nt Sh ould prop erly oc cupy an i ntermediate p ositi on between th e pro bati on ary p eriod d evo ted to a necessary observan ce Of th e ’ st ct d sc ne Of Students C o un te o nt and ri i ipli rp i , t at mo e con en a a te - season w en un de th e h r g i l f r , h ( r directi on of his teac her) th e student is call ed up o n to p ut i nto p racti c e his kn owledge Of p olyph on i c pri ncipl es by attemp ti ng th e c onstruc ti on O f entire m o ements in Fu a S m on c an t ms . v g l, y ph i , d o h er for PREFACE . Th e need of such an intermediate c ourse of ’ stu ca m nst at dy n be easily de o r ed . Students Counterp oi nt c laims to be nothi ng else than a e a ato tr a i ni n - course a me e educat ona pr p r ry g , r i l mea n n T s to a practi cal and ar ti stic e d. hi s end is th e owe Of ee and ace u art- ritin p r fr gr f l p w g . i nvolvi ng a due and prop er use Of all those resourc es Of m odern harmony whic h are available in c on nect on w t the fief ee enera s—D ato n c i i h g i i , ma E n c A S a ma t C o t c and n a mo . t e of act hr i , h r i r f , mus c ans se do m e e d Obse e the i i l , if v r, rigi ly rv ’ rul es Of Students Counterpoint in those p orti ons Of their c ompositio ns where they treat imp ortan t - n B subj ect matter in a polypho ic style . ut i nasmuch as great masters Of th e art cannot be said to write in a lawless way ; it n ecessarily follows that th e rules whic h guide an exp erienced c omp oser in his wo k must be Of a b oade c a acte and m ust r r r h r r, c over a much wider fi eld Of O bservati on and resource than that whic h is fenced in by those Sharply-defined limits Of action which have been wi sely presc ribed for th e mere n ovi c e in musical ’ ’ and o un c o mp ositi on . Students Comp osers C t erp oint are Obvi ously therefore two very dfi zr ent educati onal processes ; and any attempt to blend t em nto o ne c o mmon stud wou d ne tab end h i y, l i vi ly i n the rej ection of all th ose r ules p eculiar to th e o me w c are o und b ene a ead n Of f r r, hi h f y g r l r i g musi cal co mp osi tions to be unobserved in th e uc h m latter . S a rej ecti on would rob a young co p oser Of every advantage h e would most certai n ly derive fro m th at i nestimable mental discipli ne on ly A E P REF C . ix to be Obtai ned by a pati ent Observance of the un ’ adul terated r ul es O f Students C ounterp oi nt ; and so c onfusi ng a mixture of two differen t and c on trasted thi ngs would mo reover o nly result i n a vai n “ n ea ou to e a d as the end tse t at w c e d v r r g r i lf, h hi h “ has been stated so Often to be merely a mean s ” o th end But o n th e o t e and a student t e h r h , o e t a ned i n th e st ct sc oo needs co n pr p rly r i ri h l , s iderable guidance wh en h e is first rel eased fro m i mo e b n d n c o nt a unta ead n - st n s H e h s r i i g r p l l i g ri g .
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