Originally published in the s, Paul Hindemith’s remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks. Armonia Tradicional_Paul · Armonia e Desde la Composición musical hasta el Arte Sonoro (Revista “Resonancias” PUC.). The Craft of Musical Composition, Book I: Theory: Paul Hindemith: mx: n°70 en Libros > Arte y Fotografía > Música > Teoría, Composición y.

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The Craft of Musical Composition. Either you’ll use equal temperament in atonal composition, or you’ll compose in a largely diatonic manner. One volume or the other is always out on his desk and open to a different page, so it seems clear that he gets plenty of use from them. Harmony -Movement in chord-successions -The two-voice framework -Harmonic fluctuation -Movement in chord-connection, expressed in root-progressions -Progressions involving tritone chords -Family relationship.

A great introduction to a strong, early theory of alternative harmony. My composition teacher introduced me to Hindemith, but in his Elementary Training for Musicians and Traditional Harmony books – both of which I diligently did the exercises in every week. Writing Music for Hit Songs is also a great introduction to music theory and from a pop music, laa classical standpoint, and I would recommend it to absolute beginners. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician.


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This is by far my favorite book on the subject of composition. This takes up roughly the first half of the book, and lays the foundation for the second half – Hindemith’s rules of Harmony.


Fundamentals of Musical Composition. Ver o modificar mis hijdemith en Mi cuenta. Finally, we have the aforementioned analysis of musical works, and the chart of various chord types.

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We gave him the Hindenmith books for his birthday in August, before classes started. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. To those of you who know nothing of the overtone series and think of chords as “stacked thirds” – I ask you – why is the root note the root?

Very few music theory books tackle melody, and Hindemith does, which is very laudable. Exercises for Advanced Students. The Nature of the Building Stones -“Series 1” -Combination tones -Inversions -Interval roots -The minor triad -Seconds and sevenths; the tritone -Significance of the intervals -Harmonic and melodic value of the intervals -The conventional theory of harmony -Chord analysis -Subdivision of the chord-groups -The value of chords IV.

They have been a huge help as he prepares his lessons, helping students to understand the principles behind the music they are playing.

And the books have been useful to him in arranging, or rearranging various pieces for his different groups. This may be less controversial, but his method is logical. If you play a succession of tones, why does playing 3rds and 5ths sound like you’re arpeggiating a chord, but playing seconds sounds like melody?


I’m a largely self-taught musician. How can you add a 7th and a 9th so that your chord has 5 notes 5 out of a possible 7 notes in the major scaleand then invert it, and still know which note is the root? With Emphasis on Exercises and a Minimum of Rules. The construction of tonal spheres -The cadence -Larger harmonic relations. Still, a large part of my musical education was self taught.

Musicians should study this book. Concentrated Course in Traditional Harmony: Creative Aspects and Practice. Recently have gotten into Hindemiths music. I found it to be quite an enjoyable read.

Avisar si vuelve a estar disponible. He took a position as a private school music director bands and choirs, grades K Still, I applaud his effort to marry the old tonal tradition with the emerging atonal compositions that were becoming more prominent in his time.

I see the merit in this, but it seems largely academic to me. There’s a lot of great advice on producing convincing chordal motion when dealing with non-traditional harmonies.

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