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Fux' Lehre des Kontrapunkts ist trotz seiner 278 Jahre auf dem Buckel m.E. das beste Lehrbuch der Musikgeschichte. Bach, Haydn, Mozart, Albrechtsberger und Beethoven (um nur einige zu nennen, die dieses Buch geschätzt haben) können nicht irren! Endlich einmal ein Lehrbuch zum Eigenstudium, das trotz seiner Strenge (teilweise strikter als Jeppesen) hohen didaktischen und pädagogischen Wert besitzt, da es alle "verbotenen" Fortschreitungen nicht a priori verurteilt, sondern die tieferen Gründe dafür verständlich aus der allgemeinen Musiktheorie ableitet. Die Cantus-firmus-Methode ist ebenfalls besser als die unscharfen Herangehensweisen vieler anderer Lehrbücher auf diesem Gebiet, nach deren Studium man zwar verstanden hat, auf was es in etwa hinauslaufen soll, man aber andererseits durch mangelnde Strenge in den Übungen sehr wenig vom Wesen des Kontrapunkts an sich gelernt hat. Wer dieses Buch sorgfältig durcharbeitet, wird den Erfolg bereits bei den ersten "freien" Kontrapunkts ...
weiter
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This book is written in the form of an imaginary dialogue between the author, who plays the part of a humble and eager student, and Palestrina. If you sit down and take the time to do the lessons, contrapunctual lines seem to write themselves for you. Useful for many styles of music, it really helped me write better bass lines and voice leading in general. Self-taught musicians! Don't be afraid of studying theory! This is a great book!
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This is mostly valuable for its historical significance, but that is no mean thing, and it is worth your while working throughit--every composer and theorist should. The translator distributes his English version of Fux's "Gradus ad Parnassum" between this and "The Study of Fugue" so I recommend you pick up a copy of "The Study of Fugue" too.
Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.
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This is mostly valuable for its historical significance, but that is no mean thing, and it is worth your while working through it-every composer and theorist should. The translator distributes his English version of Fux's "Gradus ad Parnassum" between this and "The Study of Fugue" so I recommend you pick up a copy of "The Study of Fugue" too.
Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.
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This book, originally entitled "Gradus ad Parnassum" was the book used by many of the great composers of the classical and romantic eras in learning their craft. Mozart is said to have studied it. Papa Haydn's copy, dog-eared and worn, is on display in a museum in Europe. The book is set up as a series of lessons on the technique of counterpoint, with the student asking questions and the teacher providing answers. There are many examples, both of proper and improper technique. It starts with the easiest forms of counterpoint and moves into the more difficult ones toward the end. It takes itself very seriously and requires a lot of work of the reader. Some of the ideas are outdated, and all of the counterpoint examples are built on bland cantus firmus type melodies, but the exercise of going through this book is invaluable.
