lmprovisation Through KEYBOARD Harmony Berkowitz
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Preface
It is my belief that the art of musie in this half of the twentieth century is essentially in excellent health. Throughout the world, colleges and conservatories have an abundance of talented young people, symphony orchestras have both proliferated and reached artistic levels hitherto unknown, concert halls are filled with virtuosic talents of every kind, and there is probably morę creative activity, in a broader rangę of styles, than has ever before existed. Publishers have filled our bookshelves with enormous ąuantities of both new and old musie, and recording companies have madę available morę discs than most of us would be able to listen to in ten lifetimes. And yet, it is in the naturę of the educator to continue to search for new methods of presenting materials which he feels are necessary for the young musician as well as to focus attention on various aspects of the musician5s art which were once considered to be basie and which, for various reasons, have been allowed to go into a decline - primarily the art of improvisation and the preparation that leads to the development of that art.
We have all read of the amazing improvisational accomplishments of Bach, Mozart, Beethoven, Chopin, Mendelssohn, Liszt, and Franek, to name only a few of the giants of the past. But what of the eighteenth-century instrumentalist who improvised the cadenza to the concerto he was performing, the church organist who had to improvise during portions of the service, the keyboard player who had only a figured bass part as a guide to his performance, and the operatic singer who was expected to improvise embellishments during the course of an aria? There are even accounts of multiple improvisations. In 1781, when Mozart and Clementi played before Emperor Joseph II in Vienna, they not only improvised solo performances but were asked to perform an ensemble improvisation based on a theme from a Paisiello sonata. Today the art of improvisation is practiced primarily by the jazz musician, and while it is a flourishing art, it is essentially limited to variations over a given harmonie pattern rather than the development of large musical structures. Why has one of the major disciplines necessary to the complete musician been so neglected in the mainstream of musical education? Why, at a time when morę young people than ever can perform a Chopin etude with dazzling virtuosity, are there so few musicians who can improvise an accompaniment to a simple folksong, let alone an extended free improvisation?
This problem is exactly the one to which this textbook is addressed. The basie plan is to immediately apply at the keyboard the harmonie language encompassed by most harmony texts and common to the eighteenth and nineteenth centuries. Simple melodies, reąuiring simple accompaniments limited to tonie and dominant chords are followed by melodie lines which reąuire the use of a larger harmonie vocabulary and morę sophisticated accompaniment
Oprawa: miekka
Format: 21x28 cm
Ilość stron: 224 str.
Nakład: egz.
Stan: db- przytarcia, zagiecia okladki, zagiecia rogow stron
Tytuł, autor i wydawnictwo
SOL BERKOWITZ
Professor of Musie
Queens College ofthe
Gty University of New York
PRENTICE-HALL, INC., Englewood Cliffs, New Jersey
Spis treści:
Contents
PREFACE, xi
INTERVALS, 1
Intewals Derived from the Major Scalę, 1
Minor Intervals, 2
Augmented Intervals, 3
Diminished Intervals, 3
Enharmonic Intervals, 4
Exercises, 4
Melodie Transposition, 9
Melodie Improvisation, 12
TONIC, DOMINANT, AND DOMINANT SEVENTH CHORDS, 17
Dominant Seventh, 23
The Tritone, 23
Harmonizations with Tonie and Dominant, 24
Exercises, 29
THE SUBDOMINANT TRIAD, 33
Harmonizations with
Tonie, Subdominant, and Dominant, 36 Folksongs to Be Harmonized, 38
4
IIWERSIONS OF I, IV, V, and V7
Irwersions of Triads, 47 hiversions of Seventh Chords, 48 Improvising Accompaniments, 50 Folksongs to Be Harmonized, 54
THE II, III, AND VI CHORDS AND THEIR INVERSIONS, 64
Supertonic, Mediant, Submediant, 64 Folksongs to Be Harmonized, 68 Exercises in Improvisation, 75
NON-HARMONIC TONES, 78
The Passing Tonę, 79
The Neighboring Tonę, 79
Appoggiatura, 80
Suspension 80
Ąnticipation, 80
Echappee, 81
Pedał Point, 81
Exercises, 81
Folksongs to Be Harmonized, 86
Exercises in Improvisation, 88
THE MINOR MODĘ, 92
Folksongs to Be Harmonized, 97 Exercises in Improvisation, 103
8
SECONDARY DOMINANTS, 105
Folksongs to Be Harmonized, 107 Exercises in Improvisation, 117
DIMINISHEDSEVENTH, 120
Exercises in Improvisation, 125
Germinal Ideas for Extended Improvisation, 128
10
SECONDARY SEVENTHS, 130
Exercises in Improvisation, 132
Germinal Ideas for Extended Improvisation, 133
11
MODULATION, 135
Modulations Using Secondary Dotninants and Diminished Sevenths, 139
12
HARMONIC PATTERNS AND SEQUENCES, 143
Cadential Patterns, 144
Harmonizations of Scalę Patterns, 145
Harmonie Seąuences Using Secondary Sevenths, 149
Modulating Seąuences Using Diminished Sevenths, 152
Seąuences Based on the dr cle of Fifths, 154
Circle of Fifths Using Dominant Sevenths, 154
Figurations Based on the Circle of Fifths, 155
13
FIGURED BASS, 160
Figured Bass, 160
Exercises, 168
Figured Basses by J. S. Bach, 1 75
14
POPULAR AND JAZZ CHORD NOTATION, 179
Basic Chords, 1 79
Notation Chart, 184
Folksongs Harmonized with Popular Notation, 185
Melodies to Be Harmonized, 190
Exercises in Improvisation, 194
15
EXERCISES IN IMPROVISATION, 200
Simple, 200 Moderate, 206 Difficult, 211 Advanced, 215
SONG INDEX,221 GENERAL INDEX, 223
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