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Most Helpful Customer Reviews
9 of 11 people found the following review helpful:
5.0 out of 5 stars
A must have for serious study in species counterpoint,
By
This review is from: Preliminary Exercises in Counterpoint (Paperback)
In this book Schoenberg has you write out all the possibilities for each cantus firmus and then analyze them, which i feel is a very good approach so you can learn whats good,bad or acceptable when new problems are encountered . Also its in the major and minor format as opposed to the modal approach of Fux, Jeppensen etc. and, includes his concept of "monotonality" like in structural functions and theory of harmony. I found the modulations and neutralization very relevant because i also use that approach for harmonic progressions, modulations etc. which are in his harmony books. This book is a must have for any serious species counterpoint student as well as those who have strucural functions or theory of harmony and are interested in a new approach to species counterpoint.
8 of 10 people found the following review helpful:
4.0 out of 5 stars
A serious pedagogical use of counterpoint to teach music through the late romantic period,
By
This review is from: Preliminary Exercises in Counterpoint (Paperback)
I have always believed that studying counterpoint is an important aspect of a musical education and leads to a greater understanding of how serious music works than will the study of harmony. While harmonic awareness is quite useful and effective, it is counterpoint that provides the bedrock of great music for the past eight hundred years. Great musical works need the kind of horizontal structure that great voice leading provides.
That being said, species counterpoint is not a compositional process any more than slapping Roman numerals under vertical structures is. It is a pedagogical tool to provide the beginner with important insights about the materials they use in the works. And don't mistake Schoenberg for Fux or Zarlino or even Jeppesen. He uses the structure of species counterpoint to present his method, but has his own adaptations and extensions. Schoenberg is a teacher of modern students learning to compose music in the twentieth century. This is a contemporary method rather than a look back to, say, Palestrina as Jeppesen's book does (as great as that book is). I like Schoenberg's use of all the C-cleffs to encourage students to develop the ability to read musical scores and transposing instruments. His demonstrations of counterpoint in composition and counterpoint without a cantus firmus are also very interesting and useful for students integrating the idea of counterpoint into real compositions. Why this book isn't in print is beyond me. Here is a major work by one of the twentieth century's most important composers. Get it back in print and keep it available for serious students.
2 of 2 people found the following review helpful:
5.0 out of 5 stars
The Best Book By Far On the Subject,
By
This review is from: Preliminary Exercises in Counterpoint (Paperback)
This is really the only reliable book from which you can hope to study counterpoint, especially if you are like almost all Americans and don't have a counterpoint teacher. Since the study of counterpoint has never been commonly taught in American universities, few teachers can even correct your homework; nevertheless, Schoenberg, without a doubt the greatest musical autodidact of all time, not only gives you exercises in all the species, he shows you examples in which he has written counterpoints to several Cantus Firmuses (you only need a few for the entire course), and explains the strengths and weaknesses of each. So the student can not only learn on his own, he has the "classroom homework" remarks by the Master.
If you would like some free Cantus Firmus Worksheets, that you can print up and freely photocopy, and with which you may yourself get to work, you may download the booklet I have compiled from Schoenberg and Fux from my site at: [...]
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