Read e-book online A Practical Approach to Eighteenth-Century Counterpoint PDF

By Robert Gauldin

ISBN-10: 0881338532

ISBN-13: 9780881338539

Gauldin has ready a publication which leads you conscientiously and methodically via counterpoint. The books assignments are its maximum assest. simply because they generally construct on earlier assignments, be certain to not bypass 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

Sample text

The reason the Chicago proscenium acoustic is dry is to allow the players to hear each other more easily. This saves time in rehearsals, allows for the tightest possible ensemble and makes even the largest works feel like chamber music. Upon leaving the proscenium, the sound enters the hall and in theory, opens out. ” This means the acoustic is richer and more reverberant, which makes it more difficult for the players to follow and hear each other. If the acoustic of the studio affects the tempo, and thus the structure of a performance, the conductor may have to make major and instant adjustments to his or her concept and beat patterns.

Many leading artists, including Hans Richter, Arthur Nikisch, Bernard Haitink and Nikolaus Harnoncourt, gained valuable early experience by playing in professional orchestras. In an opera house, young conductors, when employed as r´ep´etiteurs, work with professional singers, orchestral players, and conductors on a daily basis. The r´ep´etiteur’s function as a rehearsal pianist provides first-hand experience of the music being performed. If the necessity arises, the r´ep´etiteur might deputize for the chorus master and, on some occasions, direct the stage bands.

Many leading artists, including Hans Richter, Arthur Nikisch, Bernard Haitink and Nikolaus Harnoncourt, gained valuable early experience by playing in professional orchestras. In an opera house, young conductors, when employed as r´ep´etiteurs, work with professional singers, orchestral players, and conductors on a daily basis. The r´ep´etiteur’s function as a rehearsal pianist provides first-hand experience of the music being performed. If the necessity arises, the r´ep´etiteur might deputize for the chorus master and, on some occasions, direct the stage bands.

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A Practical Approach to Eighteenth-Century Counterpoint by Robert Gauldin


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