A Treatise On Counterpoint Canon And Fugue
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" We look at each mass of harmony as it were perpendiculady, up and down the paper, referring each note of which it consists to its proper bass. But when we look at a piece of harmonized music from the contra- puntal point of view, we mostly direct our attention to the melodies B 2 THE PRI>X'IPLE8 OF of whicli each part should consist, to their combinations one with another, to their fitness for singing, and to their adaptability to further contrapuntal development. We look at these melodies as... it were liori- lontally, along the paper, from left to right ; and tlie harmonic deri- vation of the chords they may jointly produce is kept out of sight. The two aspects then of all harmonized music are perfectly distinct and complementary to each other. But, on the other hand, it is per- fectly true that to a certain extent the one involves the other ; for the preparation and resolution of discords according to the rules of harmony necessarily involve a progression of the parts, and thereby form melodies which are used concurrently, and therefore contrapuntally ; while, at the same time, no combination of melodies for contrapuntal purposes can exist without forming chords (consonant and dissonant), which chords necessarily include harmonic considerations.
What to read after A Treatise On Counterpoint Canon And Fugue?
You can find similar books in the "Read Also" column, or choose other free books by Frederick Ouseley to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
" We look at each mass of harmony as it were perpendiculady, up and down the paper, referring each note of which it consists to its proper bass. But when we look at a piece of harmonized music from the contra- puntal point of view, we mostly direct our attention to the melodies B 2 THE PRI>X'IPLE8 OF of whicli each part should consist, to their combinations one with another, to their fitness for singing, and to their adaptability to further contrapuntal development. We look at these melodies as... it were liori- lontally, along the paper, from left to right ; and tlie harmonic deri- vation of the chords they may jointly produce is kept out of sight. The two aspects then of all harmonized music are perfectly distinct and complementary to each other. But, on the other hand, it is per- fectly true that to a certain extent the one involves the other ; for the preparation and resolution of discords according to the rules of harmony necessarily involve a progression of the parts, and thereby form melodies which are used concurrently, and therefore contrapuntally ; while, at the same time, no combination of melodies for contrapuntal purposes can exist without forming chords (consonant and dissonant), which chords necessarily include harmonic considerations.
What to read after A Treatise On Counterpoint Canon And Fugue?
You can find similar books in the "Read Also" column, or choose other free books by Frederick Ouseley to read onlineMoreLess
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