Sirion

When it comes to art music, I've yet to use a text of my own. I usually find a text I like, and conceive the nature of the piece around it.

The second poll should probably have a "less than half" option.

I have the book, and I've learned a lot from it. Definitely a worthwhile investment, as everyone else who's written in the thread have already pointed out. Since we're onto the topic, I'd like to ask you about a related question: Does anyone have a suggestion for a complimentary book that goes in-depth on the matter of choral/vocal ensembles with orchestra?

I have no objections to these comments; well said. Hopefully I didn't come across as "backwards elitist", that was not my intention at all.

[Removed]

The link seems to be broken. EDIT: It works now. That's quite a read! I'm probably going to wait for a couple of days to comment, since it's an extensive, yet heavy read, that demands a couple of read-throughs. Do you have any sort of connection to Sweden I see quite a few Swedish titles in your bibliography.

Counterpoint Instruction Software - Free and Species Counterpoint Anyone ever tried this? While it does cost a small fortune, it looks like a very useful tool for developing counterpoint skills both in the Bach and Palestrina styles and beyond (it doesn't seem like it's got much support for atonal counterpoint, but that's fine by me for now). Are there any other software that can do the same thing (or more), for fewer thaler?

I've been planning to buy a good digital piano for quite a while now, and since I'm just about to get a large tax refund, this is as good a time as ever. I'm not more than a decent pianist, but due to changing musical activities I'm going to give it a lot of attention in the future. My hope is to buy an instrument that I won't grow out of, but can keep for as long as it works. I just found a Yamaha CLP-340 for a very fair price, is it something a non-vituoso composer-wannabe would be satisfied with for years to come?

I think you are refering to the love duet from Tristan und Isolde, where there allegedly have been included musical representations of seven simultaneous orgasms... talking about some love, are we? :toothygrin:

Any chance for a third species thread coming soon? I'm working on these exercises myself, but it's great to have someone to correct potential mistakes for once.

I really recommend people to try this out. It's a great exercise.

Where in Norway do you live? Chances for it are slim, but I just MAY be able to point you to someone...

Please look at the files attached to this post, not the one over. Thank you. :) YC2b.sib YC2b.pdf

Okay, here's my take on it. For good measure, I gave the cantus firmus a try as the treble voice too (transposed up an octave), which let to a problem in bar 2-3: In order to prevent consecutive perfect consonanses in similiar motion, intervals over a 10th and unwanted repetitional notes at the octave jump, I found the best way around was to let the bass voice jump a fifth, from a third under to a third over the CF, thus making a smooth transition to an 8th. I'm not sure what Jeppesen says about this, but it was accepted by Fux and certainly commonplace in the Palestrina style. Furthermore, the 8-10-10-8 progression in bars 3-4 may not be the best theoretically, but I found that it sounded the best. (edit: found a small error, fixing now) YC2.pdf YC2.sib

Okay, here's my take on all the assignments. The first and second part (line one) is a Cantus Firmus taken from Jeppesen, first in the lower voice, then the upper. The third is the phrygian challenge. I chose D as the bass tone, as it's a fifth under the A. This breaks with the rule that the lower voice should always contain the root note of the mode, but in this case, following that rule would result in a fourth interval, so it's really a moot point. untitled.mid Sibelius.pdf