Par DOUEL J.. / Niveau : Elémentaire / méthode - études / Autre FM / Contrepoint

avec des exemples (Séries complètes) à 2 3 et 4 parties-Pr?cis Des R?gles Du Contrepoint?is a book written by Charles Koechlin in five chapters. Focusing on the counterpoint this volume highlights all the rules related to it. It features both lessons and examples with comments to help with understanding. The chapters are: I. D?finition et R?gles g?n?rales / Definition and general rules II. Contrepoint ? deux parties / Counterpoint in two parts III. Contrepoint ? trois parties / Counterpoint in three parts IV. Contrepoint ? quatre parties / Counterpoint in four parts V. Appendice / Appendix – focus on Gregorian songs and tunes This theory book is definitely one of the most useful ones for any composition that includes counterpoints or for any composer who would like to use them in future works. Charles Koechlin (1867-1950) was a French composer professor and writer. He composed numerous symphonies and symphonic poems some instrument and orchestra orchestral and chamber works as well as some songs.

'Counterpoints' for Jazz Bass and Ensemble. Commissioned by Britten Sinfonia. World Premiere given by Eddie Gomez and Britten Sinfonia Milton Court London 18th November 2015. The solo part written for Eddie Gomez uses improvisation throughout. Various motives have been provided in the bass part creating a particell which includes the most prominent orchestral elements of each section. It is expected that the soloist will develop these ideas freely and in dialogue with the orchestral musicians.

Freu dich Maria Himmelskönigin-Regina coeli laetare (Freu dich Maria Himmelsk?nigin)for Mixed choir (SATB) Piano ad lib. (Organ ad lib.)Bach made a copy of his Magnificat in C major and arranged a movement from it Mozart copied some of his hundreds of canons: Antonio Caldara (1670-1736) was regarded by his contemporaries and by later generations as a master of counterpoint and the stile antico. Born in Venice from 1712 onwards he worked in Vienna at the same time as Johann Joseph Fux who called him a 'composer of great virtu and ability' It is strange that Caldara's considerable output is so little known and that so few of his works have been published inmodern editions.In the liturgy of the Roman Catholic Church the Regina coeli is one of the four Marian antiphons - that for Easter-which close the compline the last of the canonical hours of prayer. Caldara set the fourfold text for four voices in four sections canonically and with counterpoints which are retained from one to the other.The technical ability displayed in the composition is outstanding and in performance it is a most effective and virtuosic piece.

Use counterpoint to make your music more engaging and creative. Counterpoint ? the relationship between musical voices ? is among the core principles for writing music and it has been central to the study of composition for many centuries. Whether you are a composer arranger film composer orchestrator music director bandleader or improvising musician this book will help hone your craft gain control and lead you to new creative possibilities. You will learn ?tricks of the trade? from the masters and apply these skills to contemporary styles. Online audio examples illustrate the principles being discussed and many recommendedlistening lists point you to additional examples of how these principles have been used in music over the past thousand years.

Benjamin Dale Gordon Jacob and Hugo Anson. This textbook offers harmony counterpoint and improvisation as one organic course of study. The harmony section covers the whole technique of common chords and their inversions. Counterpoint is initially discussed as a vocal art and the early exercises explore the art of Palestrina and the English Tudor composers. In the improvisation section many keyboard techniques are introduced such as transposition chord progression and simple harmonisation.

Use counterpoint to make your music more engaging and creative. Counterpoint - the relationship between musical voices - is among the core principles for writing music, and it has been central to the study of composition for many centuries. Whether you are a composer, arranger, film composer, orchestrator, music director, bandleader, or improvising musician, this book will help hone your craft, gain control, and lead you to new creative possibilities. You will learn tricks of the trade from the masters and apply these skills to contemporary styles. Online audio examples illustrate the principles being discussed, and many recommended listening lists point you to additional examples of how these principles have been used in music over the past thousand years. / Tous instruments / Berklee

(GCSE/AL)This is one of the very few tried and tested manuals by a much admired teacher for those seeking instruction in the complex yet rewarding art of two-part species counterpoint. There are 55 exercises as well as many worked examples.

Aulos I to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Ensemble Mixte