Books For Self-Taught Learners

If you are starting from scratch, the best way is to follow the historical stages of tonality.

That being said, books for composers are quite demanding for those who want to teach themselves, so it is better to approach the subject through complementary harmony texts like Tissoni or, in any case, non-authoritative but didactic texts like Zanettovich (who wrote 2 volumes of theory plus exercises).

The major problem that remains is the correction of exercises, which is usually the teacher's responsibility.

It is true that if you post something on the forum, help arrives... it has already happened in the past and a workshop was even dedicated, for example, to a melody by Piston ... FabioM will remember.

The first thing to understand when one starts is whether to begin with harmony or counterpoint, so when in doubt, it is better to proceed side by side.

For both subjects I suggest Dubois, among other things the harmony manual, which is excellent.

I invite you to have a quick look at this topic, to get an idea of the difficulties you might encounter doing it on your own:

http://www.pianoconcerto.it/forum/index.php?/topic/760-si-puo-davvero-studiare-composizione-da-autodidatti/

I know you were asking about books, but it's better to be warned

Before spending tips, what interests do you have... what would you like to achieve by studying composition?

What knowledge do you have?

The first things to learn are how to harmonize a bass line and how to write accompaniment to a melody. For both things there are specific methods, but Piston (a book for composers, so quite challenging for a layman) covers both aspects somewhat.

Otherwise, the texts indicated by colleagues are fine

Natan wrote:

a workshop was even dedicated, for example, to a melody by Piston ... FabioM will remember it

True, I remember... I participated too. I must tell RStrauss to republish the results; they are not yet available in the archive

Just to get an idea

Natan wrote:

type Tissoni or anyway non-authorial texts but didactic ones like Zanettovich

Does anyone have anything in PDF?

It often happens to me too that when I am asked for books to study composition, the first thing I forget to say is to study the repertoire, analyze it, and live it.

The point is this: how can a learner do it alone if they do not yet have the means... it will be the teacher's responsibility to simultaneously try to guide them and make them understand how a style is constructed, because in manual X or Y that rule is written, finding it realized in the pages of an author, testing it in the field, etc.

For the rest, I agree with my colleagues' discussion and Eagle's questions; the answers are fundamental

Aspirante wrote:

Does anyone have anything in PDF?

Maybe the Tissoni is circulating in PDF, I was talking about it with Frank last month... he must be on vacation, it's been a while since I read it ...send him a PM

Opeth wrote:

Can any of you tell me the name of some books I can purchase to start studying composition as a self-taught person?

There is an embarrassment of choice

Eagle wrote:

Before spending suggestions, what interests do you have... what would you like to finalize your study of composition for?

What knowledge do you have?

I quote.

I also suggest that you cultivate the study of a polyphonic instrument such as the piano; I was given this suggestion a couple of years ago and, indeed, since I started playing the piano, my management of chords has become clearer. I am not very advanced, but things are gradually becoming clearer.

Valchiria wrote:

The first thing to understand when one starts is whether to begin with harmony or counterpoint, so when in doubt, it is better to proceed side by side.

I started with counterpoint, doing a bit of harmony... at least triads and inversions and the dominant seventh and leading tone seventh.

Valchiria wrote:

For both subjects I suggest Dubois, among other things his harmony manual, which is excellent.

I didn't know that Dubois had also written a harmony manual; I am using his counterpoint one and I am finding it helpful.

IlChitarrista55 wrote:

i am using the one from contrappunto and I'm happy with it.

As a good organist, I have it in my library

For Harmony:

http://www.musicasim...heda.asp?id=107

... so you also have the index of topics

To respond to Zazza

My interests are mainly focused on the piano, so I would be interested in something that would help me compose for piano.. that is what I am aiming for..

The former fourth of composition (lower completion) was preparing exactly for this with a great deepening for the romance for pf in the seventh (middle completion).

Therefore, everything proposed is necessary. If you play the pf, then you will be aided regarding the disagreement made by the Guitarist, concerning the mastery of the verticality (namely the harmony) of the music

Opeth wrote:

My interests lie mainly in the piano, so I would be interested in something that helps me compose for piano.. that is what I am aiming for..

At a compositional level, the fact that one addresses the piano doesn't change much in the sense that topics are often cross-cutting across all instruments.

Knowing how to chain chords is valid whether they are performed by a string quartet or by a pf [piano]. The same goes for counterpoint.

What changes is that every instrument has its own characteristics and limits, so you will have to be more interested in pianism... but the first years of the course and the basics transcend the intended use... or rather, it just so happens that one also focuses on the pf precisely because of its characteristic of being a polyphonic instrument. It would also be worth it if one relied on the organ... actually, even better for correcting counterpoint exercises, because it is an instrument that sustains the sound and better highlights the conduction of parts and eventually a sense or good mastery of polyphony...

...counterpoint is also useful for a piece for pf; the piano repertoire is very rich in these procedures.

Thanks guys, the answers are all very satisfying =)

Natan wrote:

Tissoni or otherwise non-authorial but didactic texts like Zanettovich (who wrote 2 volumes of theory plus exercises).

I know both well.

The one by Zanettovich, and I must say that although the theoretical part does not displease me (it needs to be somewhat refined in certain points), the exercises disappoint me a little. The proposed bass lines, even if better than manuals like Tissoni or others of similar standing, leave something to be desired.

I am of the opinion that it is better to vary the manuals for both aspects. Certainly for theory, Piston cannot be missing... for exercises, the good Gennaro Napoli.

Interestingly, however, is his idea of proposing harmonic paths to be read in a functional key, even if the stylistic placement is missing—that is, every period, for example, has its own Pre-cadential (PC), Cadential (C) [elements].

Obviously, a manual cannot contain everything; the teacher should provide their own integrations... if they are good, it can be sufficient as a manual... although I insist on variety.

As for Tissoni, aside from being a complementary harmony manual, it is like the old textbooks of the past: not very didactic, but if you manage (on your own?) to know how to do everything that is required, you will certainly have learned something.

As someone used to say, I have it in PDF

Ludovica wrote:

I must tell RStrauss to republish the results, they are not yet available in the archive

... I really think it will be the next round at the end of August

Daniele, I believe it is more appropriate to continue here... because here we are OT and I don't want problems with the moderators

Daniele87 wrote:

I would have followed "remotely", in the sense that since I resume university in October, I had proposed to my piano professor to study bit by bit from a harmony manual that I also had on hand, so that I could apply myself to exercises "on my own" and he would then act as a "checker" when I return to my country and go to his lessons... anyway, some time ago we had started some discussions regarding the harmonization of the bass lines and the accompaniment of some extremely simple pieces that he gave me....I hear a lot about Piston, what do you think? thanks!

Keep reading, anyway it is an excellent text