Originally published in the s, Paul Hindemith’s remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks. Armonia Tradicional_Paul · Armonia e Desde la Composición musical hasta el Arte Sonoro (Revista “Resonancias” PUC.). The Craft of Musical Composition, Book I: Theory: Paul Hindemith: mx: n°70 en Libros > Arte y Fotografía > Música > Teoría, Composición y.
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I read a lot of books, mostly old old dusty tomes that I was lucky enough to find in reprinted editions, and rarely if lq stuff that would be considered a textbook for a classroom.
The Craft of Musical Composition, Book I: Theory: Paul Hindemith: : Libros
Bought CDs of the complete orchestral music, the string quartets and the study scores to the string quartets. Very few music theory books tackle melody, and Hindemith does, which is very laudable.
In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. His theory allows for certain kinds of innovation, while remaining more grounded than the work of Schoenberg and other modernists.
Still, a large part of my musical education was self taught. He goes one step beyond that, and through a series of convolutions, constructs a 12 tone scale that he derives from the overtone series Rameau would be proud. It was also useful to atre to have these as references in his college masters degree program composition class. Building on the above, he then breaks chords into different groupings.
El Argonauta. La librería de la música.
Avisar si vuelve a estar disponible. Writing Music for Hit Songs is also a great introduction to music theory and from a pop music, not classical standpoint, and I would recommend it to absolute beginners. With Emphasis on Exercises and a Minimum of Rules. Degree-progression -Modulation -Atonality and politonality -Practical application -Non-chord tones V.
Well, I can’t say that I love it, but my son-in-law does. This may be less controversial, but his method is logical.
If you play a succession of tones, why does playing 3rds and 5ths sound like compsoicion arpeggiating a chord, but playing seconds sounds like melody? Creative Aspects and Practice.
Even when in inversion, why is compossicion note the root? My composition teacher introduced ,usical to Hindemith, but in his Elementary Training for Musicians and Traditional Harmony books – both of which I diligently did the exercises in every week.
I don’t know that he adds much of significance here, but it’s certainly worth going through this section, since so few treatments of melody exist. There’s a lot of great advice on producing convincing chordal motion when dealing with non-traditional harmonies.
Traditional Harmony, Book I, Part 1: Fundamentals of Musical Composition.
I don’t think his groupings are well accepted dogma nor any of the things I’m talking aboutbut it makes good, strong, logical sense. Either you’ll use equal temperament in atonal composition, or you’ll compose in a largely diatonic manner. While there’s plenty oa I’ve learned that isn’t in this book, there’s so much material in here that really strikes at the heart of harmony, that it’s hard not to love it This takes up roughly the first half of the book, and lays the foundation for the second half – Hindemiith rules of Harmony.
Few of us today are concerned with the precise place we need to put our fingers on the fretboard to get a properly intonated minor second, but in his day when composers were transitioning away from purely tonal music, but were not embracing equal temperament, this would have been an issue. Now it’s time to start leaning about his musical theory and approach to his compositions.
It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician. From there, he places the intervals on a continuum from more harmonic to more melodic.
When he’s done constructing the scale, he uses combination tones as a justification for the way chords are constructed – that is, if you have 3 notes, how can you definitively say one is the root?
File:SistemaPlanetario – Wikimedia Commons
The Nature of the Building Stones -“Series 1” -Combination tones -Inversions -Interval roots -The minor triad -Seconds and sevenths; the tritone -Significance of the intervals -Harmonic and melodic value of the intervals -The conventional theory of harmony -Chord analysis -Subdivision of the chord-groups -The value of chords IV.
Still, I applaud his effort to marry the old tonal tradition with the emerging atonal compositions that were becoming more prominent in his time. We gave him the Hindenmith books for his dd in August, before classes started. I see the merit in this, composiion it seems largely academic ,usical me.
I found it to be quite an enjoyable read. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.
And the books have been useful to him in arranging, or rearranging various pieces for his different groups. Ver o modificar mis pedidos en Mi cuenta.
Elementary training for musicians. Concentrated Course in Traditional Harmony: Detalles del producto Pasta blanda: Originally published in the s, Paul Hindemith’s remakable textbooks are still the outstanding works of their kind. One volume or the other is always out on his desk and open to a different page, so it seems clear that he gets plenty of atte from them. Exercises in Two-Part Writing.