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| Below is a list of university quality books that I find to be most thorough and concise. | |||||||||||||||||||
| Basic Materials in Music Theory: A Programmed Course, 10th Edition | |||||||||||||||||||
| Product Description: This classic, self-paced, auto-instructional introduction to music fundamentals allows users to work independently through a programmed format. From the wealth of clearly laid-out lessons and exercises, learners receive continual feedback and reinforcement as they work through the sequence at their own pace. Chapter topics cover the basic materials of music: time and sound, the notation of pitch, time classification, note and rest values, time signatures, intervals, the basic scales, the major scale, minor scales, key signatures, and triads. For private music studio teachers, and anyone involved in the teaching�and learning� of the basic fundamentals of music. | |||||||||||||||||||
| Harmonic Materials in Tonal Music: A Programed Course, Part I (9th Edition) | |||||||||||||||||||
| From the Back Cover This self-paced, auto-instructional book in two volumes has become a �classic� in the field of music. A wealth of clearly laid-out lessons and exercises provide learners with continual feedback and reinforcement as they work through the activities and assignments at their own pace. Chapter topics include some definitions, the structure of tonality, triads in root position: doubling and spacing, triads in root position: voice leading, triads in first and second inversion, introduction to seventh chords and the dominant seventh, phrase structure and cadences, nonharmonic tones, harmonic progression, and the technique of harmonization. For music studio teachers and students, and use in preparatory music programs. | |||||||||||||||||||
| A Practical Approach to Sixteenth-Century Counterpoint | |||||||||||||||||||
| Product Description: Practical work in writing counterpoint! Robert Gauldin emphasizes the acquisition of writing skills in the contrapuntal discipline and the simulation of sixteenth-century sacred polyphonic idioms in this volume. The author follows a didactic method of a non-species or direct approach. While no previous contrapuntal training is necessary to absorb this material, some acquaintance with Baroque polyphonic terminology proves helpful. Key features include: musical examples illustrating specific devices are taken from musical literature or composed by the author; demonstrates the possibility of employing a single given pitch series within the contexts of different compositional techniques; includes a collection of complete or excerpted movements drawn from musical literature at the conclusion of each major textual division; emphasizes Palestrina and the Counter-Reformation sacred style; discusses various compositional procedures of the late Renaissance, including paraphrase, cantus firmus, familiar style, parody, polychoral technique, and chromaticism. | |||||||||||||||||||
| A Practical Approach to Eighteenth-Century Counterpoint | |||||||||||||||||||
| Product Description: Practical work in writing counterpoint! This volume emphasizes developing analytical and writing skills in the contrapuntal technique of the eighteenth century. The orientation is strongly stylistic, dealing mainly with the polyphony of the late Baroque period. Three aspects are stressed throughout: practical work in writing counterpoint, utilizing various textures, devices, and genre of the period; historical background, to establish the origins of different forms and justify the pedagogical method employed here; analysis of selections from music literature, often in voice-leading reductions. After an opening chapter that reviews some general features of the late Baroque period, there is a brief survey of melodic characteristics, and a study of procedures associated with two, three, and four voices | |||||||||||||||||||
| Counterpoint (4th Edition) | |||||||||||||||||||
| Product Description: Designed for courses in Music, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work. | |||||||||||||||||||