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PAUL HINDEMITH:
Exercises for Advanced Students
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As a token of our high regard for the legacy of Hindemith, and as a curiosity for those who may never have tackled his "Traditional Harmony, Book 2: Exercises for Advanced Students" (London: Schott & Co., 1953), we offer the following "solutions" to each exercise. These have been completed in accordance with all given instructions, and are digitally realized using the instrumental and vocal combinations prescribed. We do not offer these examples as "official completions," nor to we presume to infringe upon the autonomy of the publishers. The examples represent a single perspective only, and are being distributed free-of-charge and not for profit. We further urge all aspiring musicians to explore more fully the legacy of Hindemith primarily in the compositional realm, rather than merely in the philosophical-theoretical-pedagogical realm.
" If the completed versions of these exercises show that the student "can not only realize their possibilities correctly, but at the same time speak a personal and in the best sense peculiar language, then he [or she] must consider whether the creative gifts thus evidenced should not be developed in the direction of original composition. The attempt can do no harm if he never forgets what a tiny percentage of those who compose are really gifted composers, and how with the best will in the world, and even with the severest judgment, the danger is ever present of mistaking for creative talent what is only a gift for adroit imitation or a highly developed skill in compilation. To sum up, we may say that the completion of the exercises in this book proves nothing about the creative abilities of the student who has accomplished it. On the other hand, a composer, even a very gifted composer, is no more than half-grown and unskilled if he cannot do the exercises in this book with ease." (Paul Hindemith, Traditional Harmony, Book 1, Chap. XVI)
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Four Four-Part Choruses
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Two Five-Part Choruses
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Two Three-Part Choruses
00:58
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