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The study of counterpoint: From 'Gradus ad Parnassum'
Since its appearance in 1725, it has been used by and has directly influenced the work of many of the greatest composers. J. S. Bach held it in high esteem, Leopold Mozart trained his famous son from its pages, Haydn worked out every lesson with meticulous care, and Beethoven condensed it into an abstract for ready reference.
156 pages, Unknown Binding
First published April 1, 1965
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Displaying 1 - 30 of 51 reviews
February 9, 2021
If it worked for LvB, it’s good enough for me.
September 21, 2025
After reading Story and Discourse: Narrative Structure in Fiction and Film by Seymour Chatman, I wanted to do more structuring things that felt awesome and sublime. Next up, music.
Searching for a book that would help, I found that Fux’s treatise on counterpoint is widely recommended for novice composers. Fux was an esteemed, 18th-century Austrian composer, and I hoped for an elemental, century-spanning music theory.
His treatise uses the form of a dialogue between master and student, Alonysius and Joseph, respectively. Joseph asks for help in becoming a successful composer and is introduced by Alonysius to what he is told will be the key: “counterpoint”, or musical composition that is informed by history. The two settle in and begin the lesson, Joseph's charming anticipation serving as foil to and being tempered by Alonysius's leisurely wisdom.
The first part of the book has five sections, one for each species of counterpoint, and Fux presents them as rules. Of course, the rules are meant to achieve the pleasure of harmony, but Fux doesn’t worry about the prettiness of music. He says in the book’s introduction that composers of his time are too often reaching for prettiness without any respect for the rules, and it is enlightening when he shows that prettiness is the foundation of counterpoint, that every piece begins, prioritizes, and ends with “consonance”. With the foundation set, says Fux, you can now build upon it.
Every section of the book shifts by the end to Joseph applying its rules in a practice composition. He mostly gets it right, sometimes respectfully engaging Alonysius for clarification. Alonysius becomes more of a supportive teammate as Joseph’s compositions become more elaborate, and counterpoint itself softens from strict rules into trends, its consonance becoming more inclusive of if not hungry for dissonance. Over the treatise’s three parts, each part adding another musical voice, Fux presents a strong case for education. It bonds Joseph and Alonysius, and is shown as close as possible, Fux trying his best to have us join Joseph studying in the space between the dialogue and his finished compositions.
What he was studying I found to be helpful in a way that feels like using a magnifying glass. Fux theorizes music as intervals moving in a way that adheres to counterpoint, the rules that preserve a sense of harmonic or pleasing variety. He applies these rules to random notes that exist only for the sake of demonstration but never in the context of a full piece. You wonder, are these principles of notated intervals and their invisible movement to be applied more broadly, such as to a musical theme serving as a sort of consonant interval and moving in its own way throughout a piece? But Fux trusts that the broader piece will come together if students consider counterpoint at every note.
It’s a helpful explanation of music’s elemental properties, and a champion of explanation itself, Fux writing with a beautiful conciseness and in defense of the unappreciated act that is studying.
Searching for a book that would help, I found that Fux’s treatise on counterpoint is widely recommended for novice composers. Fux was an esteemed, 18th-century Austrian composer, and I hoped for an elemental, century-spanning music theory.
His treatise uses the form of a dialogue between master and student, Alonysius and Joseph, respectively. Joseph asks for help in becoming a successful composer and is introduced by Alonysius to what he is told will be the key: “counterpoint”, or musical composition that is informed by history. The two settle in and begin the lesson, Joseph's charming anticipation serving as foil to and being tempered by Alonysius's leisurely wisdom.
The first part of the book has five sections, one for each species of counterpoint, and Fux presents them as rules. Of course, the rules are meant to achieve the pleasure of harmony, but Fux doesn’t worry about the prettiness of music. He says in the book’s introduction that composers of his time are too often reaching for prettiness without any respect for the rules, and it is enlightening when he shows that prettiness is the foundation of counterpoint, that every piece begins, prioritizes, and ends with “consonance”. With the foundation set, says Fux, you can now build upon it.
Every section of the book shifts by the end to Joseph applying its rules in a practice composition. He mostly gets it right, sometimes respectfully engaging Alonysius for clarification. Alonysius becomes more of a supportive teammate as Joseph’s compositions become more elaborate, and counterpoint itself softens from strict rules into trends, its consonance becoming more inclusive of if not hungry for dissonance. Over the treatise’s three parts, each part adding another musical voice, Fux presents a strong case for education. It bonds Joseph and Alonysius, and is shown as close as possible, Fux trying his best to have us join Joseph studying in the space between the dialogue and his finished compositions.
What he was studying I found to be helpful in a way that feels like using a magnifying glass. Fux theorizes music as intervals moving in a way that adheres to counterpoint, the rules that preserve a sense of harmonic or pleasing variety. He applies these rules to random notes that exist only for the sake of demonstration but never in the context of a full piece. You wonder, are these principles of notated intervals and their invisible movement to be applied more broadly, such as to a musical theme serving as a sort of consonant interval and moving in its own way throughout a piece? But Fux trusts that the broader piece will come together if students consider counterpoint at every note.
It’s a helpful explanation of music’s elemental properties, and a champion of explanation itself, Fux writing with a beautiful conciseness and in defense of the unappreciated act that is studying.
Read
December 23, 2019This book was rife with useful examples of counterpoint and the use of dialogue between teacher and student was a very effective way to study the artform. That being said, it's largely up to the reader to thoroughly dissect the examples (which are written in tenor, alto clefs) in order to know what they are discussing in the dialogue. I did not do this rigorous study, which is why I didn't understand as much as I feel I could have, which is why I feel I shouldn't rate this book. Overall a good read, but I imagine a more effective way to study counterpoint is out there...
January 15, 2013
This is a fantastic book, which clearly articulates an approach to Baroque Counterpoint. This is a wonderful study for composers, and this book will walk you through the concepts of Counterpoint which were employed by Bach, Handel and others. I, myself, studied this book and then wrote a simple trio for Violin, Cello and Piano which during performance was taken for a Bach trio by those in attendance.
December 7, 2024
เสียงที่ต่างกันเมื่อเกิดขึ้นในบริบทดนตรี ทำให้เกิดเป็นบันไดเสียงขึ้นมา และขั้นคู่ หรือระยะห่าง (ความถี่) ระหว่างเสียงหนึ่งกับอีกเสียงหนึ่งนี่เอง จะเป็นตัวบ่งบอก ว่ารูปทรงและโทนสีของบันไดเสียงนั้นเป็นอย่างไร กล่าวอย่างย่นย่อว่า ระยะห่างระหว่างเสียง (ขั้นคู่) นี่เอง จะเป็นตัวสำคัญที่บ่งบอกคุณภาพ สีสัน ลำดับชั้น และบ่งบอกถึงคาแรคเตอร์ของบันไดเสียงนั้นๆ เมื่อเสียงสองเสียง (ที่เป็นสมาชิกในบันไดเสียง หรืออยู่นอกบันไดเสียง) เกิดขึ้นพร้อมกันเป็นทำนองประสาน เกิด motion ของเสียงขั้นคู่ ที่เคลื่อนไปหาอีกขั้นคู่ เกิดทำนอง เกิดจังหวะ เกิด progression ของเสียงที่ฟังดูกลมกลืนและไม่กลมกลืน เกิดสไตล์ และเกิดสุนทรียะทางสังคีต ที่ตามแต่ละปัจเจก หรือตามแต่ประวัติศาสตร์และวัฒนธรรมทางดนตรีเหล่านั้นจะส่งต่อกันมา
แหละนี่เอง สิ่งที่เรียกว่า counterpoint หรือการเรียบเรียงทำนองสอดประสานจึงเกิดขึ้น ซึ่งเป็นความหมายของเนื้อหาหลักในหนังสือเล่มนี้
ในบริบทของดนตรีตะวันตก หนังสือเล่มนี้ถูกเขียนขึ้นในปลายยุคบาโรค ในยุคนั้น มักจะเขียนกันด้วยภาษาละตินก่อน แล้วถูกแปลภายหลัง การเขียนหนังสือเล่มนี้ ผู้เขียนล้อรูปแบบมาจากวรรณกรรมในยุคกรีก เป็นบทสนทนาระหว่างครูกับลูกศิษย์ ที่กำลังศึกษาทำนองสอดประสาน ไปตั้งแต่การเขียนทำนองสองเสียง แล้วค่อยๆ ไต่ระดับไปการเขียนทำนอง 3 เสียง จนถึงการเขียนทำนองสอดประสานแบบ 4-part
หนังสือเล่มนี้ ถ้าอ่านในฐานะคนเล่นดนตรีที่อยากฝึกการเขียนทำนองสอดประสาน (ดนตรีตะวันตก) หนังสือเล่มนี้ถือว่ากระชับ และมีแนวทางการฝึกที่ชัดเจน ขณะเดียวกัน มันก็สามารถถูกอ่านในฐานะวรรณกรรมดนตรีตะวันตก ที่พาเราไปสำรวจแนวคิดทางดนตรีในยุคนั้น ว่ามีสุนทรียะทางดนตรีและแนวทางการประพันธ์แบบไหนได้เหมือนกัน
แหละนี่เอง สิ่งที่เรียกว่า counterpoint หรือการเรียบเรียงทำนองสอดประสานจึงเกิดขึ้น ซึ่งเป็นความหมายของเนื้อหาหลักในหนังสือเล่มนี้
ในบริบทของดนตรีตะวันตก หนังสือเล่มนี้ถูกเขียนขึ้นในปลายยุคบาโรค ในยุคนั้น มักจะเขียนกันด้วยภาษาละตินก่อน แล้วถูกแปลภายหลัง การเขียนหนังสือเล่มนี้ ผู้เขียนล้อรูปแบบมาจากวรรณกรรมในยุคกรีก เป็นบทสนทนาระหว่างครูกับลูกศิษย์ ที่กำลังศึกษาทำนองสอดประสาน ไปตั้งแต่การเขียนทำนองสองเสียง แล้วค่อยๆ ไต่ระดับไปการเขียนทำนอง 3 เสียง จนถึงการเขียนทำนองสอดประสานแบบ 4-part
หนังสือเล่มนี้ ถ้าอ่านในฐานะคนเล่นดนตรีที่อยากฝึกการเขียนทำนองสอดประสาน (ดนตรีตะวันตก) หนังสือเล่มนี้ถือว่ากระชับ และมีแนวทางการฝึกที่ชัดเจน ขณะเดียวกัน มันก็สามารถถูกอ่านในฐานะวรรณกรรมดนตรีตะวันตก ที่พาเราไปสำรวจแนวคิดทางดนตรีในยุคนั้น ว่ามีสุนทรียะทางดนตรีและแนวทางการประพันธ์แบบไหนได้เหมือนกัน
April 27, 2015
Το συγκεκριμένο βιβλίο αποτελεί μετάφραση μέρους του έργου του Johann Joseph Fux, Gradus Ad Parnassum, το οποίο έχει σαν στόχο την διδασκαλία της μουσικής σύνθεσης με τη μέθοδο της αντίστιξης.
Ο τρόπος που μεταδίδεται η γνώση στον αναγνώστη γίνεται μέσα από έναν υποθετικό διάλογο μεταξύ δασκάλου και μαθητευομένου, σε αντίθεση με μια απλή συγκέντρωση κανόνων και πρακτικών προς απομνημόνευση και εφαρμογή. Αντίθετα, οι δυσκολίες και οι προκλήσεις της μουσικής σύνθεσης παρουσιάζονται με σειρά καθώς οι απαιτήσεις των ασκήσεων ανεβαίνουν σε κάθε κεφάλαιο με αποτέλεσμα να φανερώνονται οι προελέυσεις των πρακτικών που καθιερώθηκαν ως κανόνες.
Διαβάζοντας κανείς το συγκεκριμένο βιβλίο δεν πρέπει να ξεχνά οτι διαβάζει τη μετάφραση ενός έργου που γράφτηκε τον 18ο αιώνα μιας και ο συγγραφέας έχει ως βάση του διδακτικού του υλικού τους εκκλησιαστικούς τρόπους (κλίμακες) αλλά και άλλες συνήθειες και πρακτικές της εποχής. Το γεγονός αυτό όμως έρχεται να συμπληρώσει την αξία του βιβλίου καθώς, αν κατανοήσει κανείς τα παραπάνω, θα δεί να του αποκαλύπτονται αναλλοίωτα από το πέρασμα των χρόνων τα θεμελιώδη στοιχεία της μουσικής σύνθεσης που χρησιμοποιούνται μέχρι και σήμερα.
Ο τρόπος που μεταδίδεται η γνώση στον αναγνώστη γίνεται μέσα από έναν υποθετικό διάλογο μεταξύ δασκάλου και μαθητευομένου, σε αντίθεση με μια απλή συγκέντρωση κανόνων και πρακτικών προς απομνημόνευση και εφαρμογή. Αντίθετα, οι δυσκολίες και οι προκλήσεις της μουσικής σύνθεσης παρουσιάζονται με σειρά καθώς οι απαιτήσεις των ασκήσεων ανεβαίνουν σε κάθε κεφάλαιο με αποτέλεσμα να φανερώνονται οι προελέυσεις των πρακτικών που καθιερώθηκαν ως κανόνες.
Διαβάζοντας κανείς το συγκεκριμένο βιβλίο δεν πρέπει να ξεχνά οτι διαβάζει τη μετάφραση ενός έργου που γράφτηκε τον 18ο αιώνα μιας και ο συγγραφέας έχει ως βάση του διδακτικού του υλικού τους εκκλησιαστικούς τρόπους (κλίμακες) αλλά και άλλες συνήθειες και πρακτικές της εποχής. Το γεγονός αυτό όμως έρχεται να συμπληρώσει την αξία του βιβλίου καθώς, αν κατανοήσει κανείς τα παραπάνω, θα δεί να του αποκαλύπτονται αναλλοίωτα από το πέρασμα των χρόνων τα θεμελιώδη στοιχεία της μουσικής σύνθεσης που χρησιμοποιούνται μέχρι και σήμερα.
May 16, 2018
Excellent, step-by-step book on learning how to write counterpoint. Fux recommends spending 3 years working out the various species before writing free compositions. I understand why he would recommend that as this book requires time and practice to work out. I chose to do the "quick" route and just play through the examples and glean general instruction on writing counterpoint but I agree with Fux that working through the species will take considerable time and be of the most benefit. I plan to work through examples as necessary as I do contrapuntal writing in my arrangements (I mainly arrange hymns and have a strong desire to arrange them contrapuntally). The examples are not very melodic in nature but will teach you sound counterpoint writing. It's more important to learn the principles than to endeavor to become a Bach overnight in contrapuntal writing. But do consider this is a book of exercises and not necessarily a book on writing beautiful contrapuntal works. It lays a very solid foundation for writing like Bach in the future.
June 24, 2011
Nice and short, really; of course it is. Out of all the books in dialogue format, this is a pretty entertaining one. Did Fux (or Mann) write anything else? Because it might be funny.
I had to read the whole thing twice to make myself pay attention through the flowery language, but it makes me feel slightly smug to realize that the last things I arranged followed all the rules, which I knew without being formally taught them.
I had to read the whole thing twice to make myself pay attention through the flowery language, but it makes me feel slightly smug to realize that the last things I arranged followed all the rules, which I knew without being formally taught them.
April 6, 2012
Marvelous! The dialogue between the student and master made the book much more approachable than if it had been written like a dry textbook, and the old fashioned language was very nice. It is amazing how Fux could make such a complicated subject seem simple, or at least understandable! I only wish the first part of the Gradus ad Parnassum had been included.
July 24, 2009
Good classic work for studying the theory of counterpoint. The conversation approach makes it more than just another plain study book.
The humble student does get annoying after a while, but he and his teacher really teach you the steps to Parnassus.
The humble student does get annoying after a while, but he and his teacher really teach you the steps to Parnassus.
November 20, 2014
Oh venerable master, you are my constant companion!
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January 23, 2024The most celebrated book on counterpoint is Fux's great theoretical work ?Gradus ad Parnassum.? Since its appearance in 1725, it has been used by and has directly influenced the work of many of the greatest composers. J.S. Bach held it in high esteem, Leopold Mozart trained his famous son from its pages, Haydn worked out every lesson with meticulous care, and Beethoven condensed it into an abstract for ready reference. An impressive list of nineteenth-century composers subscribed to its second edition, and in more recent times Paul Hindemith said, "Perhaps the craft of composition would really have fallen into decline if Fux's ?Gradus? had not set up a standard." Originally written in Latin, ?Steps to Parnassus? was translated into the principal European languages, but the only English version was a free paraphrase published in 1886. The present translation by Alfred Mann is therefore the first faithful rendering in English from the original Latin and presents the essence of Fux's teachings. For its distinction as a classic and its undiminished usefulness for the modern student it is a privilege to offer this fine translation in the Norton Library.
February 8, 2021
This book has long been a companion of mine. A short and refreshing reminder of the art of counterpoint and voicing, without drifting into stodginess. The book, which takes the form of a master coaching his student through increasingly complex exercises, is fun to read, and proves quite effective for my learning the material.
Every time I read it, I am left with a question, though. Why does Fux give the character of the master gout, preventing him from talking about anything beyond four voices? Was this simply an entertaining way of leaving off, or is there some kind of embedded statement about the developments of counterpoint for more than four voices? Perhaps the increasingly liberal application of counterpoint's strict rules for increasing voices necessitates that all higher orders of voicing are quite florid? For now, I do not know. Overall, this is a startlingly compelling review of music theory fundamentals, given that it was written in the early 18th century. Highly recommended.
Every time I read it, I am left with a question, though. Why does Fux give the character of the master gout, preventing him from talking about anything beyond four voices? Was this simply an entertaining way of leaving off, or is there some kind of embedded statement about the developments of counterpoint for more than four voices? Perhaps the increasingly liberal application of counterpoint's strict rules for increasing voices necessitates that all higher orders of voicing are quite florid? For now, I do not know. Overall, this is a startlingly compelling review of music theory fundamentals, given that it was written in the early 18th century. Highly recommended.
May 12, 2019
This is a great book for people looking to get a basic understanding of the way counterpoint works, as it was understood in the past. If you're looking for more modern applications, there are other works but this one serves my purposes well. There are plenty of examples to make sure that you understand the concepts presented, and room to apply the same principles to other modes and keys. There are a few terms that it is taken for granted you know going into it, but a quick look at a wikipedia page on counterpoint should prepare you adequately for what's in this book. The information is presented in the form of a dialogue, which is quite helpful for understanding the material and reads a bit easier than some of the other musical texts I've read, like Schoenberg's "Theory of Harmony."
It should be noted that the book is almost worthless if you don't know the basics of music notation, or if you don't intend to work out at least some of the examples on your own.
It should be noted that the book is almost worthless if you don't know the basics of music notation, or if you don't intend to work out at least some of the examples on your own.
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October 29, 2017Reading this was my first exploration into more advanced harmony and voice leading, and I was quite daunted! After a couple months of practice and familiarization on the subject, I was able to come back and progress through it slowly.
It may not be the best "total beginner" guide (at least not for me), but it is fascinating to take a glimpse of 17th and 18th century music pedagogy, not to mention the perspective Fux gives through the dialogue of the student and teacher. Definitely worth a look through your local secondhand bookstore or library!
It may not be the best "total beginner" guide (at least not for me), but it is fascinating to take a glimpse of 17th and 18th century music pedagogy, not to mention the perspective Fux gives through the dialogue of the student and teacher. Definitely worth a look through your local secondhand bookstore or library!
April 21, 2018
Fux's study on species counterpoint has set the standard for centuries on tonal music; in fact, this is the same text that Beethoven used. Therefore, I would encourage anyone to start here if they want to learn composition.
August 21, 2019
I've been through all the Fux exercises in simple counterpoint at least twice, and I will definitely go through them again - they still point the way to the best practices in tonal voice leading. This book is a must-have for any serious musician.
February 17, 2022
Towards the latter half of the book, I think certain lessons from earlier could have been briefly restated for a cleaner more comprehensive read, but obviously it’s a pretty straightforward book. Not much to complain about. Gets the job done.
May 29, 2023
I only read the first part (in conjunction with a broader music theory course) but found it surprisingly clear and less pendantic than I expected. The dialogue element is a gimmick, but it's a decent vehicle for the material.
November 2, 2019
very deep music theory on counterpoint. how to master it? . besides it is good book
January 7, 2023
Excellent manual on the art of strict counterpoint, as relevant to aspiring composers today as ever.
November 6, 2023
I don't really know if I am any better at music (whatever that means), but this was an enjoyable book of exercises for class, and I had fun composing these short little ditties.
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August 2, 2024yawn
August 3, 2024
A very important book in history but for modern learners I recommend Counterpoint in Composition by Felix Salzer instead and Carl Schacther instead.
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July 9, 2025
Very informative. Really developed my understanding of counterpoint and contrapuntal music - would recommend to any aspiring composers or curious people!
July 25, 2025
This is one of those books which is treated as "fundamental" to the compositional journey. And in some cases, that is true. Fux lays the groundwork for voice leading and harmony that was used by Bach and Mozart, and some of his concepts come up in your modern theory book. However, I think as a composer, I would package Fux into a bundle of different exercises, studies, and models. I don't know if you could compose anything today only through Fux-- but it certainly can be applicable in modern studies.
November 19, 2017
Whilst I have certain sympathies for the "reactionary" spirit in which 'Gradus ad Parnassum' was written, I must judge it for what it is.
Fux fails to teach the style which he supposes to have set out to teach, as he gets plenty wrong. In fact he completely misses the style of Palestrina and teaches a mix of baroque and misunderstood renaissance polyphony.
Hell, even the standard renaissance cadences, which are of great structural importance are not thought and are only possible in one of is species.
While the species approach may have pedagogical benefits (the best apologia for which has been written by Alan Belkin in his 'Counterpoint', although I cannot agree with it; saying, for example, that the first species forces a student to focus on melodic shape is in my opinion misguided, as rhythm is very much part of a melody's shape.), it is a straitjacket based on arbitrary rules at odds with the musical literature.
No work of Palestrina or any other great master could have been written following the rules laid out by Fux and the whole "learn rules to break them" mentality is unhelpful; what would be the benefit of studying rules that do not help one realize what leads to independence of parts or good melodic lines?
I honestly cannot understand why people still recommend Fux, to this day, some referring to him as "the source". Maybe it is because of the reputation his work has unjustly received.
The only people who should take interest in this book are those interested in the history of music pedagogy.
Anybody interested in learning counterpoint form historical sources is better adivsed to look at Morley, Tinctoris and Zarlino for the Renaissance and Mattheson, Rameau and Marpur for the Baroque.
Modern authors I can recommend so far are Thomas Daniel and Diether De La Motte.
Fux fails to teach the style which he supposes to have set out to teach, as he gets plenty wrong. In fact he completely misses the style of Palestrina and teaches a mix of baroque and misunderstood renaissance polyphony.
Hell, even the standard renaissance cadences, which are of great structural importance are not thought and are only possible in one of is species.
While the species approach may have pedagogical benefits (the best apologia for which has been written by Alan Belkin in his 'Counterpoint', although I cannot agree with it; saying, for example, that the first species forces a student to focus on melodic shape is in my opinion misguided, as rhythm is very much part of a melody's shape.), it is a straitjacket based on arbitrary rules at odds with the musical literature.
No work of Palestrina or any other great master could have been written following the rules laid out by Fux and the whole "learn rules to break them" mentality is unhelpful; what would be the benefit of studying rules that do not help one realize what leads to independence of parts or good melodic lines?
I honestly cannot understand why people still recommend Fux, to this day, some referring to him as "the source". Maybe it is because of the reputation his work has unjustly received.
The only people who should take interest in this book are those interested in the history of music pedagogy.
Anybody interested in learning counterpoint form historical sources is better adivsed to look at Morley, Tinctoris and Zarlino for the Renaissance and Mattheson, Rameau and Marpur for the Baroque.
Modern authors I can recommend so far are Thomas Daniel and Diether De La Motte.
December 30, 2012
Un excelente libro que ha sobrevivido la prueba del tiempo.
Escrito por el siglo XVIII, a manera de diálogo profesor-estudiante, enseña todas las reglas
que conforman al contrapunto. Leído por grandes músicos como Bach, Beethoven, entre muchos otros,
pone las bases para que puedas apreciar, bajo estudio propio o con algún guía, obras contrapuntísticas,
así como para componer, con la dedicación suficiente, música con esta técnica.
Traducido al inglés contemporáneo.
An incredible book that has survived the test of time.
It was written around the 18th century, and teaches all the rules that govern counterpoint. Read by Bach, Beethoven,
among many others so-called 'great composers', this book lays the ground on which you will be able
to appreciate and compose, with the proper dedication, music that uses this technique.
Translated from latin to contemporary english.
Escrito por el siglo XVIII, a manera de diálogo profesor-estudiante, enseña todas las reglas
que conforman al contrapunto. Leído por grandes músicos como Bach, Beethoven, entre muchos otros,
pone las bases para que puedas apreciar, bajo estudio propio o con algún guía, obras contrapuntísticas,
así como para componer, con la dedicación suficiente, música con esta técnica.
Traducido al inglés contemporáneo.
An incredible book that has survived the test of time.
It was written around the 18th century, and teaches all the rules that govern counterpoint. Read by Bach, Beethoven,
among many others so-called 'great composers', this book lays the ground on which you will be able
to appreciate and compose, with the proper dedication, music that uses this technique.
Translated from latin to contemporary english.
June 7, 2016
This is probably THE book on Counterpoint. It's nearly 300 years old at this point, and many of the old masters studied from it. Reading it as a modern reader is a bit strange. About half of the book is framed as a conversation between a teacher and a student. That said, if you are capable of reading basic musical notation, you shouldn't have too much trouble. Even though it is very short, it's one of those books that is best accompanied with a notebook and pencil, to work through the examples yourself.
It would be a great second book for someone wishing to learn theory. It is just a little bit intermediate for someone just starting out, but the exercises are invaluable. You'll either find the style charming or off-putting. That said, these techniques of counterpoint (particularly two-part, first-species counterpoint) are still found all over music to this day.
It would be a great second book for someone wishing to learn theory. It is just a little bit intermediate for someone just starting out, but the exercises are invaluable. You'll either find the style charming or off-putting. That said, these techniques of counterpoint (particularly two-part, first-species counterpoint) are still found all over music to this day.
January 6, 2014
Masterpiece! Loved the dialog between teacher and pupil. It is very much a direct expression of the same questions a beginner of counterpoint would expect to ask and it makes for easier reading. There are many useful exercises and this is obviously a handbook to use as knowledge of counterpoint develops.
Appreciated the good explanations for the rules, as well as the message that some of them are mostly guidelines rather than absolute truths is very important to go forward with the more complicated types of counterpoint. Will probably come back to it soon.
Appreciated the good explanations for the rules, as well as the message that some of them are mostly guidelines rather than absolute truths is very important to go forward with the more complicated types of counterpoint. Will probably come back to it soon.
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