vivies, on 30 January 2012 - 10:19 AM, said:
Let's be clear !
first of all the harmonic and counterpoint rules you describe concern a little part of music history ( let's say the baroque and classical periods). Unfortunately school & conservatory classes are based on tonal harmonic and counterpoint methods that apply rules extracted from the music of 17th and 18th century !
Did you know J.S Bach never wrote a "scholastic fugue" ? No ! however all the fugues he wrote were fantastic !
at the end of the 19th century, do you think Claude Debussy took care about paralell octaves and fifths ? no !
Do you think modal music from antic period to renaissance respected the rules you are talking about for many centuries ? No !
Guys, the great composers always used the "exception" that makes a composition unique !
first of all the harmonic and counterpoint rules you describe concern a little part of music history ( let's say the baroque and classical periods). Unfortunately school & conservatory classes are based on tonal harmonic and counterpoint methods that apply rules extracted from the music of 17th and 18th century !
Did you know J.S Bach never wrote a "scholastic fugue" ? No ! however all the fugues he wrote were fantastic !
at the end of the 19th century, do you think Claude Debussy took care about paralell octaves and fifths ? no !
Do you think modal music from antic period to renaissance respected the rules you are talking about for many centuries ? No !
Guys, the great composers always used the "exception" that makes a composition unique !
I think you used too much exclamation marks. You aren't right because you yell. And you seem to press the argument that since the exception on the rule makes things better/unique/whatever, the exception becomes the rule. Which is just absurd

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