Tractat de solfeig: exercicis 1
Author/Composer
Field
Music Schools and Conservatoires Intermediate Level
Collection
Tractat de solfeig: els elements essencials de la música
Language
Format
Score
Contents
(Music-Reading Course / Second book of exercises in reading, writing and dictation).The interval of a second, and whole beats in 2-beat, 3-beat and 4-beat times.
Introduction to reading, writing and dictation, restricted to the interval of the second and to whole-beat times (notes and rests), excluding all time sub-divisions. The reading exercises have no clef and no key signature; the music is read in line with some assumed, pre-determined clef and key signature. The rhythmic values used are restricted to figures representing the value of one or more beats (notes and rests), indicated by minims, crotchets and quavers.
Structure
Melodic formulae, reading rhythms, writing, reading and dictation, and worksheets on 2-beat, 3-beat and 4-beat times, concerning:1. The interval of an ascending second, and 2-beat time.
2. The interval of a descending second, and 3-beat time.
3. Ascending and descending groups in 2-beat and 3-beat times.
4. Ascending and descending groups in 4-beat times.
Technical Specifications
Measurements
17 x 24,5 cm, vertical
Binding
Staple
Number of Pages
32
Editor
DINSIC Publicacions Musicals
Translations of this Publication
Book
Les éléments essentiels de la musique
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(The essential elements of music).
A new approach to learning music.
The originality (returning to the origins, as Gaudí saw it) of this work, which analyses the essential elements of music and how they are related and interrelated, consists fundamentally in the notes being learned not just in terms of their absolute position on the staff presided over by the treble clef, but also in terms of their intervallic relationships, thus creating the necessary identification between the sound as heard and the sound as represented in visual terms.
BOOK AND THREE EXERCISE BOOKS, ALL IN ONE PACK:
A.- Livre: Les éléments essentiels de la musique
B.- Premier Cahier d'Exercices: L'intervalle de seconde et les temps entiers
C.- Deuxième Cahier d'Exercices: L'intervalle de tierce et la division binaire et ternaire du temps
D.- Troisième Cahier d'Exercices: L'intervalle de quarte, la syncope et le contretemps dans la division binaire et ternaire du temps
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The work consists of the book and three exercise books.
The main structure of the work is:
1. Introduction to the essential elements of music and to the importance of musical notation in the evolution of western music since the beginning of the second millennium.
2. Rhythm, a movement of tension and release (arsis-thesis) corresponding to the notion of weak and strong beats ' wrongly inverted into strong and weak beats on account of the position of the bar line, an error leading to serious misunderstandings in grasping rhythmic life.
3. Analysis of sound and harmonics, the basis of the historical evolution of music. Analysis of melodic order and harmonic order and of the modal and tonal system in relation to the notion of tension and release.
4. Applying the natural consequences of this analysis to the basic teaching of musical language, comprising melodic, harmonic and rhythmic formulae.
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Related Publications
Book
Els principis Fonamentals de l'Harmonia
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After 'Les éléments essentiels de la musique', behold 'Els principis fonamentals de l'harmonia', which completes and gives a résumé of my harmonics teaching practice - a legacy of my teacher Nadia Boulanger. Throughout my long experience, I have asserted that the current 'on paper' harmonics teaching, with the four traditional keys, often is an obstacle to the majority of pupils that neither have a sufficient level of music reading nor the internal pitch, that would permit them to imagine the sounds. Should those pupils thus be excluded from the knowledge of harmonics, which would provide a better understanding of music and help them develop their sense of hearing' Nadia Boulanger attached great importance to harmonics on the keyboard with the praxis of harmonic progressions and the 'Vidal basses', which I use to help pupils acquire and develop the reflexes, which connect hearing with musical thinking and its mental and digital formulation. I therefore dedicate the first chapter of this book of mine to the introduction to harmonics on the keyboard, before switching over to the laws that rule tonal writing by means of some simple principles, based on a particular concept of melody, as regards harmonics and their relatedness to intervals.
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