The exercises proposed in this book are at first sight impossible: to prepare musicians to learn composition by referring exclusively to the tonal repertoire. Who in fact could claim to flourish in the practice of a language that, not content with belonging to the past, is one of the most strict and restrictive that the West has engendered? However, unlike a given song or a given bass, these exercises are designed to offer the student a space of freedom more and more important and thus stimulate his creative potential from the beginning of his learning.
Such an approach has many advantages. Indeed, it allows:
- to realize an immediate fusion between the horizontal (melodic) and vertical (harmonic) dimensions of the music, dimensions not opposed but complementary -
- to conceive the musical work as an organic totality and not a simple assembly of various elements, in adequacy with the schenkerian theories of the tonality -
- to relate the respective roles of invention and deduction in musical creation -
- to confront the ambiguous relationship between the real musical time (that of the conception) and the time by nature dilated of the writing (that of the realization).
It is in this that, even within the frame a priori rigid and exceeded the tone, these exercises prepare the student to learn the composition.
This first volume is intended for musicians beginning their writing studies. It is centered around the elaboration of simple and articulated themes in a progression largely inspired by William E. Caplin's classification. All the exercises are borrowed without any modification to the repertoire. However, it should only be used as a model at the time of the correction, which allows the student to appreciate the composer's answers to questions that he inevitably had to ask himself during his own work. of achievement.
In addition, the most diverse styles are deliberately mixed, the Baroque of a Corelli or Bach and Haydn's classicism or the romanticism of Chopin. Indeed, the purpose of these exercises is not to become familiar with the style of a particular composer but to observe the organic unity which, beyond the vicissitudes of its history, has animated the tonal language.
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