Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.
Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.
Part One - Chorale Harmonization: Introduction, 1. Melodic Characteristics of the Chorale, 2. Cadences, 3. Harmonic Resource, 4..Unessential Notes, 5. Consecutives, 6. Textures, 7. Modal Chorales, 8. Exercises, Appendix, Part Two - Instrumental Counterpoint: 1. Introduction, 2. Melodic Characteristics, 3. Harmony, 4. Rhythm and Texture, 5. Musical Forms, 6. Exercises
Malcom Boyd was educated at the Welsh College of Music and Drama before joining the University of Wales. His writings have included books on Palestrina, Bach, Domenico Scarlatti and the Welsh composers William Matthias and Grace Williams.
Malcolm Boyd's lucid text investigates how often various chords and progressions occur, in what contexts and (where possible) for what reasons. Following methods known to have been adopted by Bach himself, the exercises are graded in such a way as to encourage the student to develop both technique and imagination within a closely defined framework. Recommended for all music students.
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