Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.

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Product details

Paperback: 80 pages
Publisher: Kahn & Averill; New edition edition (20 Nov. 2008)
Language: English
ISBN-10: 1871082722
ISBN-13: 978-1871082722
Product Dimensions: 17.8 x 0.6 x 22.9 cm
Customer reviews: 12 customer ratings
Amazon Bestsellers Rank: 556,795 in Books (See Top 100 in Books)
- #110 in Music Hymns
- #385 in Composition & Orchestration
- #660 in Classical Musician Biographies

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Customer reviews

5 star		68%
4 star		11%
3 star		6%
2 star		6%
1 star		10%

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Jan ap Tenby

Helpful and informative

Reviewed in the United Kingdom on 5 May 2014

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This little book is most helpful in understanding Bach chorale harmony. The section on counterpoint is also most helpful. It's a shame that this volume goes out of print so often.

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Ramtin

great quality. I couldn't be happier

Reviewed in the United Kingdom on 23 April 2015

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Quick delivery, great quality. I couldn't be happier.

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Anon

Useful

Reviewed in the United Kingdom on 2 November 2015

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Very useful

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Amazon Customer

Five Stars

Reviewed in the United Kingdom on 30 December 2015

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Incredibly useful book, essential reading for undergraduate level study of Bach chorales and counterpoint.

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Dr. Douglas G. Corr

Disapointment

Reviewed in the United Kingdom on 17 November 2006

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I thought the idea and outline of the book had good potential. But to cover harmonic resource in 2 sides is rather a joke - this is typical of the light weight of the section on chorale harmonisation - it takes much longer to read the daily newspaper.

13 people found this helpful

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BanjoSteve

It's OK but could do with more depth

Reviewed in the United Kingdom on 1 November 2012

This works as a basic introduction to Bach chorales that will point you in the right direction from scratch, but I agree with the other reviewers who point out that there is a lack of depth - certainly it would benefit from more discussion of harmonic resource, and the inclusion of more musical examples to illustrate this.

One person found this helpful

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Mr. A. J. Lawrence

Simple but effective.

Reviewed in the United Kingdom on 11 March 2009

I learnt harmonisation of a Bach chorale when I did my A-Levels in 1997-1999. I recently had an interview for a place on a PGCE course, and so had to brush up on this skill.

For me, this book is pitched just right, giving helpful tips and reminding me of the main rules of harmonisation. Any more in depth and I would have been swamped, and probably wouldn't have finished it. There are also a number of harmonisation exercises that, to be honest, I didn't do, but could be helpful to people who don't have their own harmonising exercises to hand.

8 people found this helpful

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Little Endian

Not the worst book ever...

Reviewed in the United Kingdom on 28 November 2011

This is a very thin book (actually two very, very thin books put together) that covers things in an overly simplistic way with no real depth. The book is not without merit, but there are far better resources out there for this sort of thing (for example, check out Four Part Harmony by Classroom Resources which is considerably better at explaining what you need to know).

One person found this helpful

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Goggle-Eyed Slewfoot

What is the scope of this book?

Reviewed in the United States on 8 January 2009

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True to Mr. Ducharme's instructions, I had a Riemenshneider collection and a 2-and-3-part invention score handy. I found the book interesting, well written, and informative, but there are still a few questions which bother me.

Number one:
<<<<<What is the scope of this book?>>>>>

A complete analysis of Bach's music cannot be covered in 80 pages. Studies of individual compositions have been treated in volumes thicker than this one.

Number two:
<<<<<What is the purpose of this book?>>>>>

On the first page of the second part of the book, the author writes this disclaimer: "The intention is not to provide ready-made formulae for putting together pieces in the Bach style--which would be imnpossible anyway--and the following pages should be regarded only as a method of fruitful study of the works themselves."

Yet the author repeatedly instructs the reader on what to do and what not to do, and with no other referent than the example set by Bach. Why must we use the Picardy third for ending chorales in a minor key, but not necessarily for ending dance movements in a minor key? Because that was Bach's habit! Why can't we write dominant thirteenths? Because Bach didn't seem to like them!

If producing more music in the style of Bach was Boyd's secret wish, I would say that that is an unworthy cause. Although much of Bach's music has been lost, we still have over a thousand of his compositions, and that is enough to last any devotee for a lifetime.

I am reminded of a story told by Chotzinoff (0306707772), about a composer named Giuseppe Martucci. For reasons of friendship, Toscanini profusely performed Martucci's works. This was in spite of rejection by the general public, which saw a resemblance between Martucci's style and that of Brahms. Acccording to the public, there was only one composer who was allowed to sound like Brahms, and it wasn't Martucci.

PS Some of Boyd's terminology was unfamiliar to me. As near as I can tell, an "imperfect cadence" is what I thought was a half cadence, an "interrupted cadence" is what I thought was a deceptive cadence, "unessential notes" are what I thought were non-harmonic tones, and "consecutives" are what I thought were parallel fifths and parallel octaves.

6 people found this helpful

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betsey degroff

Five Stars

Reviewed in the United States on 8 July 2015

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Just what I needed/

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Bach: Chorale Harmonization and Instrumental Counterpoint Paperback – Illustrated, 20 Nov. 2008

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