Harmony (Classic Reprint): Its Theory and Practice - Couverture souple

Ebenezer Prout

Couverture souple

ISBN 10 : 1440071705 ISBN 13 : 9781440071706

Editeur : Forgotten Books, 2018

Synopsis

Discover the craft of harmony with practical guidance and real‑world examples.

This classic text walks you through the theory and practice of harmony, from writing in multiple voices to analyzing the work of great masters. You’ll find clear rules, illustrated passages, and thoughtful advice that helps you understand how chords move, how auxiliary and passing notes behave, and how to manage voice leading in four parts and beyond.

This edition presents concrete demonstrations of harmony in action, drawing on examples from Bach, Handel, Mendelssohn, Brahms, and Wagner. It explains how to approach five, six, seven, and even eight parts, while noting where the rules relax as the number of voices grows. The focus stays on usable skills for composing and analyzing, with emphasis on clean progression, proper handling of dissonance, and the aims of modern and past masters alike.

• Learn how to construct and analyze chord progressions across multiple voices
• See how auxiliary notes, passing notes, and chromatic touches function in real music
• Explore the practical differences between two‑part, four‑part, and more elaborate polyphony
• Understand common pitfalls and the stylistic choices used by master composers

Ideal for students and composers who want a solid, hands‑on grounding in traditional harmony, and for readers seeking insight into the practice behind the rules.

A propos du livre

Présentation de l'éditeur

Excerpt from Harmony Its Theory and Practice

So large a number of works on Harmony already exists that the publication of a new treatise on the subject seems to call for explanation, if not for apology. The present volume is the outcome of many years experience in teaching the theory of music, and the author hopes that it contains sufficient novelty both in plan and in matter to plead a justification for its appearance.

Most intelligent students of harmony have at times been perplexed by their inability to reconcile passages they have found in the works of the great masters with the rules given in the textbooks. If they ask the help of their teacher in their difficulty, they are probably told, "Bach is wrong," or "Beethoven is wrong," or, at best, "This is a licence." No doubt examples of very free part-writing may be found in the works of Bach and Beethoven, or even of Haydn and Mozart; several such are noted and explained in the present work. But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius! Haydn, when asked according to what rule he had introduced a certain harmony, replied that the rules were all his very obedient humble servants; and when we find that in our own time Wagner, or Brahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words, practice must precede theory. The inspired composer goes first, and invents new effects; it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminence which a sound theoretical system cannot satisfactorily account for; and the objections made by musicians of the old...

Présentation de l'éditeur

Stack Annex KPRE FACE. So large a number of works on Harmony already exists that the publication of a new treatise on the subject seems to call for explanation, if not for apology. The present volume is the outcome of many years experience in teaching the theory of music, and the author hopes that it contains sufficient novelty both in plan and in matter to plead a justification for its appearance. Most intelligent students of harmony have at times been perplexed by their inability to reconcile passages they have found in the works of the great masters with the rules given in the textbooks. If they ask the help of their teacher in their difficulty, they are probably told, Bach is wrong, orB eethoven is wrong, or, at best, This is a licence. No doubt examples of very free part-writing may be found in the works of Bach and Beethoven, or even of Haydn and Mozart ;several such are noted and explained in the present work. But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius !H aydn, when asked according to what rule he had introduced a certain harmony, replied that the rules were all his very obedient humble servants ;and when we find that in our own time Wagner, orB rahms, or Dvorak breaks some rule given in old text-books there is, to say the least, a very strong presumption, not that the composer is wrong, but that the rule needs modifying. In other words, practice must precede theory. The inspired composer goes first, and invents new effects ;it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. It is a significant fact that, even in the most recent developments of the art, nothing has yet been written by any composer of eminencewhich a sound theoretical system cannot satisfacto
(Typographical errors above are due to OCR software and don't occur in the book.)

Détails de l'édition

• Éditeur: Forgotten Books
• Date d'édition: 2018
• Langue: anglais
• ISBN 10: 1440071705
• ISBN 13: 9781440071706
• Reliure: Broché
• Nombre de pages: 260
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