The Study of Counterpoint: From Johann Joseph Fux's Gradus ad Parnassum

Superbly well written if you can get over the 1725 narrative style. "What is that style, might I inquire venerable master?" "Well, my son, there are many things I have yet to explain to you, but they will all be covered in due course." Did they really talk like that? But ignoring that stylistic aspect, the actual content and substance is superb. For the unfamiliar, counterpoint is a formal musical structure which requires very strict adherence to clearly defined rules. Johann Joseph Fux was a master court composer who had the honour and privilege during his lifetime of serving in that capacity to five different Emperors. Originally written in Latin, towards the end of his life, copies of this publication were fervently sought and prized throughout the musical world. Mozart, Haydn and Beethoven all had copies and learnt from its pages, as did many others. Finally, in the mid-twentieth century Alfred Mann, a respected academic in the US, translated the text into English so it could be re-published. The book follows a clear structure, enabling students to progress methodically and with assurance. At every step it provides worked example exercises, which can be copied out and their principles re-applied. To aid the flow of narrative, we are provided with an imaginary discussion between a tutor and his student, where the rules of counterpoint are identified and explored. There are three sections in the narrative: (I) for two voices; (II) for three voices; and (III) for four voices. Each of those sections is divided into five distinct species: (1) note against note; (2) half note against whole notes; (3) quarters against whole notes; (4) the ligature; and (5) florid counterpoint. Along the way several important concepts are raised and systematically explained. This book will be hugely helpful for anybody wishing to study and develop their skills in writing counterpoint - a key aspect of baroque and early classical music. Recommended.

There are many books on this matter, but I find some of them sometimes confusing or not explicit, having lots of big texts saying basically nothing. Not this one though! This book is written based on a teacher/student dialogue system which allows you to really understand what is being explained, step by step, and having all of your silly student questions answered! There is no filler text, everything is really important information, which makes this my go-to counterpoint bible. You end up being able to write efficiently a string quartet following all the baroque counterpoint rules. Of course, you can break the rules in your own compositions, but there's no point in "breaking the rules" if you're not even aware of which rules you're breaking, that's just ignorance at that point, so study counterpoint with this book and evolve your music to the next level!

As an introduction to Composing I found this book to be my go-to guide, and I've been keeping at it for well over a year and a half now. I'm on 4 Part counterpoint finally and one thing I would say is to do extra research on each rule stated. Many of the Rules have since changed and can be challenged. For example Battuta's, considering 4ths as Dissonant, and only being able to use crotchets on the 2nd and 4th beats. The book is intended as a fundamental introduction and should be considered that way. once following the rules strictly it is up to you to decide which rules you are going to stick by and which ones you are going to break.

This book is a translations and therefore is quite difficult to read at points. It is still very good but some points can be difficult to understand.

Great little book, well translated and easy to read. Lots of information to unpack and worth a read to anyone who is interested in composition and the mechanics of counterpoint.

pretty entertaining actually

Very pleased. Thanks

This is classic old piano school, for me must have, for you you must decide, love piano, love music? Highly recommended!

数ある対位法教程書の中でも不朽の古典とされる、J.J.Fux『Gradus ad Parnassum』からの抄訳です。 Alfred Mannによるこの英訳本は、フックスの原著（ラテン語、1725年刊）全体を翻訳したものではなく、原著のうち類的対位法に関する部分（原著第２部のおよそ前半部分）を抜粋したものです。 （原著巻頭にある序文（Appendixを除く）のほか、一部については他の部分から訳されて収録されています。この訳の対話部分の冒頭近くにある、「協和／不協和音程」「並行／反行／斜行」についての梗概は、原著第１部の末尾から採られて挿入されています。また、本文結尾の、Aloysius先生が疲れてレッスンを終了する場面は、原著本文の一番最後にあるものです。） なお、原著にはここに訳された部分の前に、音程や音階などの基礎を説明している第１部があり、さらにこの抄訳部分の後にも続く部分があります。後続する部分のうち、模倣・フーガ・二重対位法についての部分は、同じAlfred Mannによる英訳が『 The Study of Fugue 』に収録されています。 （原著ではその後さらに、旋法や諸様式についてのレッスンが続き、最後に「先生が疲れて終了」です。） フックスの原著（かつては入手が困難でしたが、すでにパブリックドメインに属しており、現在ではWeb上などでも見ることができます）については、刊行以来ずっと有名であり続けてきただけあって、様々な批判的意見も存在します。たしかに、挙げられている譜例の中には、付けられた対旋律がいかにもぎこちなく感じられたり、本書が模範とするパレストリーナの様式とはかけ離れていると言わざるを得ないようなものも散見されます。また、混合類についてなど、十分に説明が尽くされているとは言い難い部分もあります。 ただ、フックスが本書で提示し、後世に至るまで本書を意義あるものたらしめているのは、あくまでも「どのように順序立てて説明していくか」という、教習方法論です。「対旋律をそのリズムに従って分類する」（このやり方自体は、フックス以前にもあったようです）という、一見して機械的な方法を採用しているのも、段階的に説明し、実習を進めるために都合がよいからなのであって、規則に合致しないような音楽を排除することを目的としたものではありません。そして、様々な応用が可能であるからこそ、本書で挙げられている方法は、その後も多くの教本によって踏襲されてきたのだと感じます。 また、本書が対話形式で書かれていることも魅力のひとつです（対話形式で書かれているのは原著第２部）。数ある教本の中には、ルールを列挙している形の本も多く、それらは知識の整理には便利ですが、具体的に何から手をつけていいのか見えにくいという憾みもあります。レッスンでの問答を描写しているような本書を読むことによって、その後の数多の教程書や理論書が何を問題にしてきたのか、その理解も容易になってくると思います。 この英文訳はとても読みやすく、また訳者による巻頭言や注釈、参考文献リストも充実しており、非常に参考になります。対位法研究のためには必読の古典です。

Awesome

Ottimo libro. Utile per chi vuole studiare il soggetto e molto comprensibile. Divertente aggiungerei. Mi è stato consigliato e adesso sono io che lo consiglio.

Eloquently written, I reference this book repeatedly for knowledge and inspiration.

It's like your first time kissing on the back seat of a Holden, vegemite sandwiches without butter for lunch, measles, mumps, a high school crush. It isn't pretty, you check yourself hourly for those telltale spots around the mouth, even take an extra pair on underpants to school, but after you've pressed so hard with your pencil the page looks like death valley on Mars you'll realise life would be different if you'd just thrown this book into the trash.