2 thoughts on “Why Study Harmony and Counterpoint?”
It’s a beautiful writing on the subject, I’ve been meditating a lot about harmony and counterpoint because of how I’ve learnt it during college… and coming to the conclussion I can’t fully teach it as I’m understanding it now. I don’t wanna separate it from counterpoint, neither chord identification, neither “it’s just PD – D – Tonic”… but it’s kinda hard without good references or books. Any suggestions? For the sake of good pedagogy?
The book I like most is Walter Piston’s ‘Harmony’ (and not necessarily the recent fifth edition) because he constantly refers to real music examples with actual textures. (Avoid Schoenberg!) If you are struggling with the way you were taught h & c at college, that’s good! It’s often badly taught. Most counterpoint books also teach a sort of pseudo-Bach style of writing, but it’s worth looking at Mahler’s counterpoint, Wagner, Shostakovich, Hindemith – maybe (for you) also De Falla, Albéniz, Turina? Essentially, if you can analyse what is a harmony note and what is non-harmonic, you already have much to discuss with your students. The answer to your question is already with you.
It’s a beautiful writing on the subject, I’ve been meditating a lot about harmony and counterpoint because of how I’ve learnt it during college… and coming to the conclussion I can’t fully teach it as I’m understanding it now. I don’t wanna separate it from counterpoint, neither chord identification, neither “it’s just PD – D – Tonic”… but it’s kinda hard without good references or books. Any suggestions? For the sake of good pedagogy?
The book I like most is Walter Piston’s ‘Harmony’ (and not necessarily the recent fifth edition) because he constantly refers to real music examples with actual textures. (Avoid Schoenberg!) If you are struggling with the way you were taught h & c at college, that’s good! It’s often badly taught. Most counterpoint books also teach a sort of pseudo-Bach style of writing, but it’s worth looking at Mahler’s counterpoint, Wagner, Shostakovich, Hindemith – maybe (for you) also De Falla, Albéniz, Turina? Essentially, if you can analyse what is a harmony note and what is non-harmonic, you already have much to discuss with your students. The answer to your question is already with you.