What do you think of the following two texts? Peter Schubert - Modal Counterpoint in the Renaissance Style - ISBN 978-0195331943 Peter Schubert - Baroque Counterpoint - ISBN 978-0131834422 B...
Hi everyone! I am studying this chord and its possible developments but I have many doubts, especially regarding the modulating possibilities that the chord presents, so maybe someone can cl...
Ligabue explains what "musical chords" are at minute 04:30 I ask, isn't he an Italian rocker? Has he been successful, fortunately? ...why can't he enjoy his billions, play, and shut up with...
I am trying in my spare time to develop an algorithm for the creation of modulating sequences, i.e., to identify, given a starting key and an arrival key, one or more successions of chords t...
Hi everyone, I was reading about first species counterpoint in 2 parts from the preliminary exercises of Schoenberg's counterpoint.... now a doubt arises: all the examples he gives are ascen...
Hello everyone, lately I have resumed studying harmony and I am also becoming interested in analyzing pieces from both a harmonic and melodic point of view; I am trying to analyze this piece...
'Good evening everyone, inspired by a post from Red Scharlach some time ago in which he had linked the score of this chorale taken from the cantata, I decided to write it out as an exercise...
Are there treatises (in Italian) on counterpoint that are specialized in the Flemish style? I am asking because there is a lot regarding Palestrina-style counterpoint... but I am curious to...
I am taking inspiration from a question about the septichord. In your opinion, is there any utility in writing the polyphonic exercises of the composition course (I am referring to Imitated...
I've been wondering for a while now if counterpoint is still a relevant topic. I am not referring to pedagogy, with its more or less shared duty to delve deeper into the subject, but specifi...
HARMONIC ANALYSIS OF “Time remembered” - Bill Evans – Part one - This is a first-level analysis, meaning the Modes listed are the most incoming ones. In the second part, I will list the outg...
HARMONIC ANALYSIS OF “AUTUMN LEAVES” – J.Mercer Second part In the first part, I listed the most “ingoing” scales to play over the chords of the piece during improvisation. In the second par...
I heard about it from a friend who is studying it, I searched a bit online and I couldn't quite focus on this technique (is it right to call it that...?). I seem to have understood that they...
HARMONIC ANALYSIS OF “AUTUMN LEAVES” - J.Mercer The indicated scales are the most "Ingoing". In the next article, for the same piece, I will indicate the more "outgoing" scales. A: A-7 / D7...
Hi everyone, I am struggling with the harmonic analysis of the piece in question. Could you help me analyze measures 5-6 and 10-12? Here is what I have written: 5) MEASURE 5 presence of A na...
While doing sight-singing, I noticed two main 'problems' that I have: 1 when I hear chords, I struggle to recognize the tonic. maybe I recognize the chord but I don't hear the bass note whic...
http://www.maurograz...Acustica04.html The interval covered by a critical band is about 1/3 of an octave. Meanwhile, note that the tone and therefore also the semitone are always within the...
Hello everyone, I have done my first harmonic analysis of a Bachian chorale.... I took the first one from the collection of harmonizations.... I have some perplexities which I have marked wi...
I was reading on the piston (see attachment) but I'm having trouble making sense of it... I had already opened a discussion about the third degree in the past http://www.pianoconc...il-terzo...