CDN$ 13.72
  • List Price: CDN$ 20.95
  • You Save: CDN$ 7.23 (35%)
FREE Shipping on orders over CDN$ 25.
Only 5 left in stock (more on the way).
Ships from and sold by Amazon.ca.
Gift-wrap available.
Quantity:1
Study Of Counterpoint has been added to your Cart
Have one to sell?
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See all 2 images

Study Of Counterpoint Paperback – Jan 1 1981


See all formats and editions Hide other formats and editions
Amazon Price New from Used from
Paperback
"Please retry"
CDN$ 13.72
CDN$ 8.18 CDN$ 11.01

Best Canadian Books of 2014
Stone Mattress is our #1 Canadian pick for 2014. See all

Frequently Bought Together

Study Of Counterpoint + Fundamentals Of Musical Composition + Principles of Orchestration
Price For All Three: CDN$ 56.78


Customers Who Bought This Item Also Bought



Product Details

  • Paperback: 160 pages
  • Publisher: WW Norton; Revised edition edition (Jan. 1 1981)
  • Language: English
  • ISBN-10: 0393002772
  • ISBN-13: 978-0393002775
  • Product Dimensions: 1.3 x 0.1 x 1.9 cm
  • Shipping Weight: 136 g
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Bestsellers Rank: #116,800 in Books (See Top 100 in Books)

Inside This Book (Learn More)
Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Search inside this book:

What Other Items Do Customers Buy After Viewing This Item?

Customer Reviews

4.9 out of 5 stars
5 star
15
4 star
1
3 star
0
2 star
0
1 star
0
See all 16 customer reviews
Share your thoughts with other customers

Most helpful customer reviews

5 of 5 people found the following review helpful By Matthew Christian Dallman on Oct. 16 2001
Format: Paperback
[reprint -- sorry]
At one point in the text, Aloysius pretty much says it all: "These lessons are not worked out for actual use but for exercise. If one know how to read one need no longer bother with spelling; similarly, the species of counterpoint are given only for purposes of study."
I have been working out of this book (which is really an excerpt of a larger book called _Steps to Perfection_) with a private tutor for a year, and it has been a difficult but rewarding experience. Essentially, the species provide a platform to learn how to compose concurrent melodic lines. Each following species builds upon the knowledge of the previous. Rules that begin absolute slowly become contextual. While the book's original title is anachronistic, the program within encourages steps towards the understanding of basic tonal principles that have formed the foundation of the grand tradition of western music.
I'd recommend keeping an open mind about the rules. These are treated as the "rules," but are expected to be broken with time and experience. After all, the rules are no more than the collected general tendancies of the great composers.
Another thing to keep in mind is that Fux's book provides an introduction to composition based upon the limitations--and, accordingly, the beauty--of the human voice. This book does not deal with the embellishments and ornaments possible on all instruments.
More caveats: One, I would recommend studying this book with an experienced teacher. It's like a beginning yoga text: basic, but someone with experience will put things in perspective. Two, the exercises, especially for three and four voices, are difficult and require commitment and discipline. (Again, like yoga.) There is no need to rush through the exercises.
Read more ›
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
2 of 2 people found the following review helpful By Christopher Schlegel on July 15 2004
Format: Paperback
This is an indispensable work for anyone with a serious interest in musical composition. It lays out the entire foundation of tonal composition (i.e.: counterpoint) in a lucid, organized systematic manner.
The serious student of musical composition should have this book, work through it not once but regularly. I re-read it constantly and work through all the exercises again once or twice a year.
It should also be used in conjunction with "Structural Hearing Tonal Coherence in Music" by Felix Salzer (Schenker's protégé).
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
Format: Paperback
At one point in the text, Aloysius pretty much says it all: "These lessons are not worked out for actual use but for exercise. If one know how to read one need no longer bother with spelling; similarly, the species of counterpoint are given only for purposes of study."
I have been working out of this book (which is really an excerpt of a larger book called _Steps to Perfection_) with a private tutor for a year, and it has been a difficult but rewarding experience. Essentially, the species provide a platform to learn how to compose concurrent melodic lines. Each following species builds upon the knowledge of the previous. Rules that begin absolute slowly become contextual. While the book's original title is anachronistic, the program within encourages steps towards the understanding of basic tonal principles that have formed the foundation of the grand tradition of western music.
I'd recommend keeping an open mind about the rules. These are treated as the "rules," but are expected to be broken with time and experience. After all, the rules are no more than the collected general tendancies of the great composers.
Another thing to keep in mind is that Fux's book provides an introduction to composition based upon the limitations--and, accordingly, the beauty--of the human voice. This book does not deal with the embellishments and ornaments--so the exercises can sound dry.
More caveats: One, I would recommend studying this book with an experienced teacher. It's like a beginning yoga text: basic, but someone with experience will put things in perspective. Two, the exercises, especially for three and four voices, are difficult and require commitment and discipline. (Again, like yoga.) There is no need to rush through the exercises.
Read more ›
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
By A Customer on Aug. 9 2003
Format: Paperback
I recently started studying composition, and this book has been immensely helpful! My composition teacher uses the same method of graduated study of starting with one note against one note and then building in complexity to four-part counterpoint. After a lesson, it's useful to read the corresponding section in the book as a refresher before doing my assigned exercises. Plus, it gives me a second explanation about the do's and don't of part writing if I didn't quite catch it in my all-too-brief lesson time. Finally, it's a great way to make sure I don't lose my proficiency over vacation; there's plenty of examples for me to work on in my spare time. After finding this book, I'm surprised it's not on my required booklist! It's a definite must for all serious composers who want to develop a strong classical training. (Let's not forget the value of classical education! Most professional artists that I've talked to, in any field, have told me that it's the best way to begin.)
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.

Most recent customer reviews



Feedback