Hold in head that the harmony and counterpoint texts I've advisable are from the realm of the Common Follow Period, and thus instruct us on analysis and composition in tunes from the several years 1600 (commencing of the Baroque period of time the initial opera) to 1900 (the conclude of the Romantic time period and the commencing of the Modern period, with the Impressionist movement someplace in between). Naturally, we no lengthier live in that time. There are numerous carryovers in our musical language from this interval, though, so it is nevertheless relevant to review CPP songs.
I suggest Bach's innovations and Bartk's Mikrokosmos simply because they the two fulfill the exact same purpose, with two diverse languages. The two- and 3-portion inventions are motivically limited contrapuntal parts in the CPP design. The Mikrokosmos pieces are motivically restricted parts in a variety of textures in a type of 20th century tonality that is not serial dodecaphony. Equally are outstanding, very clear models for composition, and melody is *marginally* a lot more crucial than harmony in equally textbooks. It's widespread to dis cover audio in which possibly harmony or melody tremendously tips the scale. Also robust a melody, not sufficient harmony, it seems weak and unsupported. Too strong of harmony and not enough melodic feeling, and there is actually absolutely nothing to the composition. The two direct to shitty pop music. Melody and melodic development are really exemplified in the functions of Bach and Bartk. I feel that is something to embrace.
Lars Edlund's publications (the ones I have below, in any case) are ear coaching, not idea, but ear training is an immensely critical ability. Consider you might be good with intervals? Here's the initial sight singing workout from Modus Novus:
It is not needed for idea, but I am rather certain that if you go via each guides, you ascend to a higher aircraft of being.
