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Binding: Paperback
Dewey Decimal Number: 781.25
EAN: 9780393002775
ISBN: 0393002772
Label: W. W. Norton & Company
Manufacturer: W. W. Norton & Company
Number Of Items: 1
Number Of Pages: 160
Publication Date: June 17, 1965
Publisher: W. W. Norton & Company
Studio: W. W. Norton & Company
Features:- ISBN13: 9780393002775
- Condition: New
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Editorial Review:Product Description:The 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.
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The item I ordered has delivered quickly and it is almost new as they promised. I am satisfied.
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I am only halfway through this historic masterpiece and my compositions have improved greatly. This is a fun study. I highly recommend this for beginning composers of any genre
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I am using this book to help me in writing music, along with Tchaikovsky's Guide to practical study of harmony I plan on teaching myself into a composer. It's going well so far and I've learned a lot. So I do recommend these two books along with Modulation by Max Reger, but that's only when you get really good.
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I agree with Chelsea Liddle's grading of this book, but for slightly different reasons.
Let it be said right away: This book is indeed arcane. When I first started composing I did work my way through most of this book. Then I discovered Knud Jeppesen's book "Counterpoint", a book that deals with the same type of exercises as Fux, but who, through the power of hindsight, have managed to remove many of the baroque idioms that snuck into this book. This book says right away that it's purpose is to teach counterpoint in Palestrina's style, but if you are interested in this, Jeppesen's book is a lot newer and more thoroughly made.
I therefore think that this book is mostly for musicologist, music historians or people with a special interest in the composers who used this as their counterpoint manual: Haydn, Mozart and Beethoven (as well as some lesser names). I think I can say right away that while you may be able to find some rules or idioms that suits most of the ...
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It's true that this is the classic work on species counterpoint, used by Haydn, Mozart & Beethoven and endorsed by Bach. It belongs in every serious musician's library. But nowadays, it's not the first book to get on counterpoint. If you are just going to embark on studying counterpoint, do yourself a favor and get Jeppesen's book "Counterpoint: The Polyphonic Vocal Style of the 16th Century", which builds directly on Fux's work and presents essentially the same material with a more informed historical perspective and a somewhat more modern point of view (1929). (There are more recent books as well. Also I have to acknowledge the common complaint that to read Jeppesen requires reading C-clef.) Later you can fill in your knowledge of historical esoterica by reading Fux, just so you can say you did it.
