Resources that will help you!

My dead young composers,

I think it is time to list resources I enjoy reading and am reading. I will start with more accessible to new composers then go to most advance ones.

Every composer, under their toolbelt, should have firm understanding tonal harmony. While the millions of books on the market, it is probably difficult to decide which one to use. This is where your undergraduate course helps you. Professors have thier prefence. Mine used "tonal Harmony" However, if you want to get jump, I suggest two books: Fux treatise on species counterpoint, and Tchaikovsky treatise on harmony. Schoenberg also wrote two books on harmony. Be warned: Schoenberg book on Harmony is like reading book on philosophy.

Traditional harmony is fine, but we are currently in modern era where that pushes the boundaries. Thus, book on 20th century harmony should the follow up. There are two books that go through this! I think Peter is going through one. He would reccomded that one. I have that one. And I would agree with his assestion about it. I would also suggest picking up book on Alan Forte and "The music of Bela Bartok"

Understanding musical style is important as writer. Therefore, Charles Rosen books "The classical style" and "The romantics" are a must. He links Bach to each period.

Speaking of Him, he wrote about Sonatas: Sonatas forms. (I hear there are 3 vol set about sonatas, but his book is more concise).

Now to onto musical forms: Analyzing Classical forms and Sonata theory. Both are great books. But start with Schoenberg book on composition.

I hope this well you.

Also, score study. Share your works as you learn. And choose the best path that works for you.

Orchestration is the final step! Rimsky-Korosky, Adler, Brant.

1 hour ago, Kvothe said:

My dead young composers,

😱

I would like to supplement some information too:

1 hour ago, Kvothe said:

Every composer, under their toolbelt, should have firm understanding tonal harmony. While the millions of books on the market, it is probably difficult to decide which one to use.

I think "Harmony and Voice Leading" by Aldwell and Schachter is the standard textbook for understanding tonal harmony. For me Damschroder's series of Thinking in Harmony and Harmony in XX(Composer's name) is a really good practical series.

1 hour ago, Kvothe said:

Speaking of Him, he wrote about Sonatas: Sonatas forms. (I hear there are 3 vol set about sonatas, but his book is more concise).

The 3 volume set is William S Newman's series and I had read the series last summer. Rather teaching Sonata form the series is on the historical change in Sonatas in different musical periods so not neccesarily useful for beginners, but it's a really good read if you want to know the history!

1 hour ago, Kvothe said:

Orchestration is the final step! Rimsky-Korosky, Adler, Brant.

Adler's book is a must read on orchestration. I read it this year and it helps me so much on orchestral writing!

Henry

Hi

I think Fux’s book is entertaining and can teach you a few things, but both the teaching method and the content itself are very outdated. These days, you need to understand counterpoint not only in its Baroque splendour or earlier forms, but also in Classicism, Romanticism and any avant-garde style.

As for books on orchestration, my view is that many devote most of their content to the instruments themselves, rather than to orchestration as such. In that sense, the book with the most practical content of this kind is Rimsky-Korsakov’s, though that isn’t very up to date either…

To get started with many contemporary compositional techniques, I think Vincent Persichetti’s book is essential.

Hi! I am also writing an essay about to understand music.

11 hours ago, Henry Ng Tsz Kiu said:

My Dead Young Composers

😱

Lol

@Luis Hernández Fux is starting point for counterpoint. For tonal 18th century counterpoint: I would recommend: Piston and Kennan and either 18th century counterpoint by Gauldin or Baroque Counterpoint by Schubert.

13 hours ago, Luis Hernández said:

I think Fux’s book is entertaining and can teach you a few things, but both the teaching method and the content itself are very outdated. These days, you need to understand counterpoint not only in its Baroque splendour or earlier forms, but also in Classicism, Romanticism and any avant-garde style.

3 hours ago, Kvothe said:

Fux is starting point for counterpoint. For tonal 18th century counterpoint: I would recommend: Piston and Kennan and either 18th century counterpoint by Gauldin or Baroque Counterpoint by Schubert.

I think counterpoint is essential but it can only be learned only after you have some level of understanding on harmony. Fux’s book is great if you want to learn about counterpoint in Palestrina’s style since Fux aimed at the stile antico counterpoint. I would suggest if you want to learn counterpoint, you should get yourself familiar to the Well Tempered Clavier. And theory books on counterpoint are only supplements to real music for you to understand the beauty of counterpoint in real music,

Henry

13 hours ago, Luis Hernández said:

As for books on orchestration, my view is that many devote most of their content to the instruments themselves, rather than to orchestration as such. In that sense, the book with the most practical content of this kind is Rimsky-Korsakov’s, though that isn’t very up to date either…

Adler’s book does deal with the orchestration itself in a rather detailed fashion. But again, the main focus should be you listening to many orchestral music with the book beside for your assistance on understanding orchestration. Adler’s book does have a quite big list of music references which I did go through and listening all of them really helps me!

Henry

@Kvothe

@Henry Ng Tsz Kiu

THANK YOU

I’m going to try and get hold of a copy of Adler’s treatise…

I have a lesser-known little book by Cecil Forsyth (‘Orchestration’) which is a good complement because it covers the history of each instrument, why and how they came to be as they are, amongst other things.

As for counterpoint… it’s a controversial topic and warrants a separate thread.

In any case, when you haven’t followed a formal musical education and career path, as is my case – I do everything out of passion – at certain points or moments a good teacher is essential. Someone who’s a good educator, who can guide you directly. That gives you the wings to carry on on your own.

I’ve turned to this professional ‘help’ at critical moments:

When I decided to study tonal and modal harmony in depth.

When I decided to delve into 20th-century compositional techniques.

When I decided to understand and apply counterpoint in any style.

And right now… with orchestration.

Long live music!!

@Luis Hernández

I also own Cecil book. His humor is rather intelligent. But at the time it was written, the alto flute was inaptly named bass flute.

now, we both there is actual bass flute. So this is not correct naming.

unlike Adler, he miss places other woods in brass section section. Again this is error on his part.