A Practical Approach to Eighteenth-Century Counterpoint by Robert Gauldin

By Robert Gauldin

Gauldin has ready a booklet which leads you conscientiously and methodically via counterpoint. The books assignments are its maximum assest. simply because they generally construct on earlier assignments, ensure to not pass any. the teachings are competitive, yet simply in the course of self-study.

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Extra resources for A Practical Approach to Eighteenth-Century Counterpoint

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We 21 22 Repertoire Lessons 22 begin with an 8-​bar period, but the interior phrase structure is curiously irregular. The dovetailing of phrases and orchestration is as beguiling as the harmonic progression; the ascending flute in bar 12 to cap a C 6-​4 chord is unexpected. The river just took a surprising turn; the oboe takes over and the harmonic motion is augmented. From C major we go to … B♭ 6 and through G minor to F 6-​4 and through the dominant. It is a lovely sequence, just one of many.

Rossini wrote neither timpani nor percussion for the overture, nor did he for the opera. Opinion varies as to whether or not it is stylistically correct to add percussion parts ad libitum, a practice that seems to be common for other Rossini operas. I side with those who add timpani and percussion, although I take issue with the choices made by the editor of the standard edition. In the absence of parts in Rossini’s hand, if one chooses to employ percussion and/​or timpani, it is best to write out the parts oneself, or to have the percussionist/​timpani play ad lib.

No. 1 Preludio (rehearsal 1). When giving the subito mf, accented f diminished downbeat at letter B, be careful to avoid a quick rebound that would miscommunicate the tempo of the triplets 27 Overture in 2nd bassoon, brass, percussion, and low strings. The tempo should not quicken here. And please do your harmonic analysis homework; these next 8 bars are rich and pungent in harmonic twists and turns, especially the 4th beat of bar 29. In the final phrase of the introduction, the brass has been reduced to unison E, under the tremolo fitto of the strings, shifting from E major to a shivery A diminished-​ B7.

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