Rating: 
Summary: The early fundamentals of composition
Review: At one point in the text, Aloysius pretty much says it all: "These lessons are not worked out for actual use but for exercise. If one know how to read one need no longer bother with spelling; similarly, the species of counterpoint are given only for purposes of study."I have been working out of this book (which is really an excerpt of a larger book called _Steps to Perfection_) with a private tutor for a year, and it has been a difficult but rewarding experience. Essentially, the species provide a platform to learn how to compose concurrent melodic lines. Each following species builds upon the knowledge of the previous. Rules that begin absolute slowly become contextual. While the book's original title is anachronistic, the program within encourages steps towards the understanding of basic tonal principles that have formed the foundation of the grand tradition of western music. I'd recommend keeping an open mind about the rules. These are treated as the "rules," but are expected to be broken with time and experience. After all, the rules are no more than the collected general tendancies of the great composers. Another thing to keep in mind is that Fux's book provides an introduction to composition based upon the limitations--and, accordingly, the beauty--of the human voice. This book does not deal with the embellishments and ornaments--so the exercises can sound dry. More caveats: One, I would recommend studying this book with an experienced teacher. It's like a beginning yoga text: basic, but someone with experience will put things in perspective. Two, the exercises, especially for three and four voices, are difficult and require commitment and discipline. (Again, like yoga.) There is no need to rush through the exercises. Three, Fux's book should be part of an integrated tonal curriculum that at least includes four-part writing and ear-training. And Fux's book is hardly the last word even on counterpoint! At the very least, study 18th century and 20th century counterpoint, because those broad styles used Fux's treatise as their basic foundations. Those who criticize this text do so because it does not immediately apply to modern music situations. But they often fail to see how the text fits beautifully within the broad spectrum of composition. This book reflects the basics of tonal architecture. No more, no less.
Rating:
Summary: The early fundamentals of composition
Review: At one point in the text, Aloysius pretty much says it all: "These lessons are not worked out for actual use but for exercise. If one know how to read one need no longer bother with spelling; similarly, the species of counterpoint are given only for purposes of study." I have been working out of this book (which is really an excerpt of a larger book called _Steps to Perfection_) with a private tutor for a year, and it has been a difficult but rewarding experience. Essentially, the species provide a platform to learn how to compose concurrent melodic lines. Each following species builds upon the knowledge of the previous. Rules that begin absolute slowly become contextual. While the book's original title is anachronistic, the program within encourages steps towards the understanding of basic tonal principles that have formed the foundation of the grand tradition of western music. I'd recommend keeping an open mind about the rules. These are treated as the "rules," but are expected to be broken with time and experience. After all, the rules are no more than the collected general tendancies of the great composers. Another thing to keep in mind is that Fux's book provides an introduction to composition based upon the limitations--and, accordingly, the beauty--of the human voice. This book does not deal with the embellishments and ornaments--so the exercises can sound dry. More caveats: One, I would recommend studying this book with an experienced teacher. It's like a beginning yoga text: basic, but someone with experience will put things in perspective. Two, the exercises, especially for three and four voices, are difficult and require commitment and discipline. (Again, like yoga.) There is no need to rush through the exercises. Three, Fux's book should be part of an integrated tonal curriculum that at least includes four-part writing and ear-training. And Fux's book is hardly the last word even on counterpoint! At the very least, study 18th century and 20th century counterpoint, because those broad styles used Fux's treatise as their basic foundations. Those who criticize this text do so because it does not immediately apply to modern music situations. But they often fail to see how the text fits beautifully within the broad spectrum of composition. This book reflects the basics of tonal architecture. No more, no less.
Rating:
Summary: Delicious
Review: I bought this book, then assigned it to a bunch of other books to read, then roasted them, brewed coffee from them, and consumed them, and peed their contents into Tilton Library at NYU, filling the edifice to the brim for use as a student SCUBA facility. If I could give it 6 stars, I would.
Rating:
Summary: Perfect Student Guide & Lesson Companion
Review: I recently started studying composition, and this book has been immensely helpful! My composition teacher uses the same method of graduated study of starting with one note against one note and then building in complexity to four-part counterpoint. After a lesson, it's useful to read the corresponding section in the book as a refresher before doing my assigned exercises. Plus, it gives me a second explanation about the do's and don't of part writing if I didn't quite catch it in my all-too-brief lesson time. Finally, it's a great way to make sure I don't lose my proficiency over vacation; there's plenty of examples for me to work on in my spare time. After finding this book, I'm surprised it's not on my required booklist! It's a definite must for all serious composers who want to develop a strong classical training. (Let's not forget the value of classical education! Most professional artists that I've talked to, in any field, have told me that it's the best way to begin.)
Rating:
Summary: amazing!
Review: It is amazing how this text is still useful today! This is still a fundamental work to this day. How wonderful it is to read the dialog between teacher and student! While species counterpoint is only a means to an end, one cannot underestimate its value for the study of melody, process and form.
Rating:
Summary: Useful, accessible, and [surprisingly] entertaining
Review: The book has a nice pace. It is not a fat book. Content is presented succinctly. The platonic-type dialog is as charming as it is civilized and effective. There is something inspirational about reading a treatise previously studied by people like Bach, Haydn, Mozart, etc. I would say that even the most anti-traditional composer-person might benefit from the straightforward analytic of it all, even if one's harmonic sensibility differs from those presented in this text. All in all, a book to check out, if counterpoint intrigues you.
Rating:
Summary: Useful, accessible, and [surprisingly] entertaining
Review: The book has a nice pace. It is not a fat book. Content is presented succinctly. The platonic-type dialog is as charming as it is civilized and effective. There is something inspirational about reading a treatise previously studied by people like Bach, Haydn, Mozart, etc. I would say that even the most anti-traditional composer-person might benefit from the straightforward analytic of it all, even if one's harmonic sensibility differs from those presented in this text. All in all, a book to check out, if counterpoint intrigues you.
Rating:
Summary: For understanding Bach, Mozart and Beethoven
Review: The highlight translation from Fux's "Gradus ad Parnassum" published in 1725. This book is the most enjoyable textbook for understanding the european polyphonic music, on which lessons had depended the German musical culture of the 18th century. Mozart and Beethoven had learned a lot of things from this "Gradus" not from Rameau's "treatise on harmony". Generally speaking, the German composers were anti-ramistes, although Rameau's treatise is, of course, a great theoretical work, the intention of which might be, however, not for composing some music but for analysing the nature of the chords. One can clearly get to know the rules of counterpoint and enjoy the music like chess.
Rating:
Summary: For understanding Bach, Mozart and Beethoven
Review: The highlight translation from Fux's "Gradus ad Parnassum" published in 1725. This book is the most enjoyable textbook for understanding the european polyphonic music, on which lessons had depended the German musical culture of the 18th century. Mozart and Beethoven had learned a lot of things from this "Gradus" not from Rameau's "treatise on harmony". Generally speaking, the German composers were anti-ramistes, although Rameau's treatise is, of course, a great theoretical work, the intention of which might be, however, not for composing some music but for analysing the nature of the chords. One can clearly get to know the rules of counterpoint and enjoy the music like chess.
Rating:
Summary: For understanding Bach, Mozart and Beethoven
Review: The partial translation of Fux's "Gradus ad Parnassum" published in 1725. This book is the most enjoyable textbook for understanding the european polyphonic music, on which lessons depended the German musical culture of the 18th century. Mozart and Beethoven learned a lot of things from this "Gradus" not from Rameau's "treatise on harmony". According to Kelletat, some Germans of the 18th century were anti-Rameau, although Rameau's treatise is, of course, a great theoretical work, the intention of which might be, however, not for composing some music but for analysing the nature of the chords. One can clearly get to know the rules of counterpoint and enjoy the music like chess.
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