Handel's Thoroughbass lessons for Princess Anne of Orange. Some sources that might help you attack fugues from this angle: Having exercises like that can be useful for guiding you through a coherent musical structure while also allowing you to fill that structure with your own musical inventions. Fugue was often the culmination of this line of study as well: the most advanced exercises will provide you with a subject and bass-line "blueprint" for the remainder of the work that you flesh out with entries of the subject intermixed with free counterpoint. These are essentially studies in how bass lines generate nice musical materials in upper voices. But I would also recommend a third route that you might pursue as well: studying thoroughbass and partimenti. I second the advice given so far to study real fugues while also acquainting yourself with counterpoint (using someone like Kennan, Schubert, Fux, etc.).
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