[Smt-talk] Doubling the tone of resolution

[Olli Väisälä]

Some comments to Nicolas's important questions:

(1) Where I teach, the tuition in the writing in historical styles is  
predominantly based on the analysis and emulation of  "real music."  
The interaction of analysis and writing is, to my experience,  
extremely fruitful for both aspects.

(2) During the first year, however, two classic textbooks are used:  
Aldwell and Schachter's Harmony and Voice Leading, and Jeppesen's  
Counterpoint. Both provide rule-based exercises, but are in close  
relationship with "real music." Witness A&S's numerous "real music"  
examples and Jeppesen's expertise on Palestrina.

(3) The beneficiality of species counterpoint á la Jeppesen is not,  
however, just that it provides an introduction to Renessaince "real  
music." As Nicolas notes, the relationship between strict style  
(species counterpoint) and free style is historically and analytcally  
significant. Moreover, species counterpoint provides a sufficiently  
simple environment for the beginning students to develop their  
imagination, hearing, disciplined working methods, and assessment of  
aesthetic value.

(4) Finally, a note about the role of statistical studies of chord  
usage as related to textbook rules. While such studies are certainly  
interesting, we should not lose sight of the fact that the rarity of  
a certain phenomenon does not imply that it is insignificant, as if  
all rare events were just composer's slips. It can as well be that  
the effects created by the rare incidents are all the more noticeable  
and thus significant because of their rarity.

Olli Väisälä
Sibelius Academy
ovaisala at siba.fi
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