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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Gana dinero con nosotros. This takes up roughly the first half of the book, and lays the foundation for the second half – Hindemith’s rules of Harmony.
Detalles del producto Pasta blanda: This is by far my favorite book on the subject of composition. How can you add a 7th and a 9th so that your chord has 5 notes 5 out of a possible 7 notes in the major scaleand artee invert it, and still hundemith which note is the root?
Still, a large part of my musical education was self taught. The Craft of Musical Composition, Book 2: To those of you who know nothing of the overtone series and think of chords as “stacked thirds” – I ask you – why is the root note the root? Very few music theory books tackle melody, and Hindemith does, which is very laudable.
I would advise supplementing your reading with two papers that address deficiencies in Hindemith’s ideas: Still, I applaud his effort to marry the old tonal tradition with the emerging atonal compositions that were becoming more prominent in his time.
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If you want more “rules on classical harmony” Tchaikovsky’s book is slender and hard to beat. Even when in inversion, why is that note the root?
Creative Aspects and Practice. There’s a lot of great advice on producing convincing chordal motion when dealing with non-traditional harmonies. Recently have gotten into Hindemiths music. 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.
Either you’ll use equal temperament in atonal composition, or aret compose in a largely diatonic manner. Bought CDs of the complete orchestral music, the string quartets and the study scores to the string quartets. Mis pedidos Localizar mis pedidos recientes. Fundamentals of Musical Composition. Avisar si vuelve a estar disponible.
Degree-progression -Modulation -Atonality and politonality -Practical application -Non-chord tones V. Concentrated Course in Traditional Harmony: The Craft of Musical Composition. 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.
I say this after having read the book a year or so ago, so artte I’m saying this because I remember fewer of the thing he said in this section, I may have been rapt in compoicion during this section a year ago, I just don’t remember it so well now.
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Very concise and with little fluff, and for the most part, lite on “rule” and heavy on “insights into why thing work” – which is the sort of stuff I live for. I see gindemith merit in this, but it seems largely academic to me. It is therefore not surprising that nearly forty years later these books should remain essential reading for the hindemjth and the professional musician.
And the books have been useful to him in arranging, or rearranging various pieces for his different groups.
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. Musival 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.
Well, I can’t say that I love it, but my son-in-law does. My composition teacher introduced me to Hindemith, but in his Elementary Training for Musicians and Traditional Harmony books – both of which I diligently did the exercises in every week.
Paul Hindemith did formidable work in his attempt to forge a new systematic theory of musical composition, based on ages-old data about the properties of sound i. When he’s done constructing the scale, he uses combination tones as a justification for the lq chords are constructed – that is, if you have 3 notes, how can you definitively say one is the root?