A Treatise on Counterpoint, Canon and Fugue (Classic Reprint)

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Excerpt from A Treatise on Counterpoint, Canon and Fugue The present work is intended as a companion rather than a sequel to the author's Treatise on Harmony. There is a great difference of opinion in different countries as to the method and order in which Harmony, Counterpoint, Fugue, Form, and Musical Aesthetics should be studied. In Italy, for example, it has been (till quite recently) the custom to study Counterpoint first, then Fugue, then Harmony, whereas, in Eng land, Germany, and France Harmony has always been taught before any other branch of the subject. But upon a careful consideration of the whole matter, it seems more reasonable to study Harmony and Counterpoint simultaneously. The principal reasons for adopting this course are stated in the body of this work, and both the author's Treatises have been written with a view to this method of treatment. Many persons conceive that the restrictive rules of Simple Counterpoint are of no great value, inasmuch as they are never followed in all their rigour in the works of our best composers. But this opinion arises from an erroneous idea of the object which these rigorous restrictions are intended to attain. For a course of Elementary Counterpoint is chie¿y useful, as giving facility in combining many melodies into one harmonious whole, as engendering habits of smooth part-writing, by successively vanquishing the various technical difficulties which ever stand in the way, and as making free composition comparatively easy afterwards by contrasting it with what must be acknowledged to be the drudgery of the earlier processes. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.