Introduction to Piano Polyphony

Name: Introduction to Piano Polyphony
ISBN: 9787552316025

Lin HuaShanghai Music Publishing House · ChinaSep 2022

3.9

Word count: 24K words
Chapters: 23
ISBN: 9787552316025

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Summary

This book is intended for elementary piano learners who are about to begin studying polyphony. It is a systematic set of exercises devoted specifically to basic polyphonic training and can serve as a bridge to the Little Bach Book. The book has two teaching aims: first, to provide the most basic finger-technique training methods needed for playing polyphonic textures; second, to offer the simplest possible introduction to polyphonic textures through examples, with specific notes on particular pieces appended after the music. The book contains three types of material: basic fingering exercises for playing polyphonic works; simple interpretive exercises using actual music to explore various texture patterns and rhythmic schemes; and finally, more complete short polyphonic pieces. This systematic training will serve as a sound foundation for students as they begin playing classic polyphonic works from China and abroad.

Editor's review

Professor Lin Hua's Introduction to Piano Polyphony is a work intended to fill a gap in piano polyphony teaching in China. Unlike textbooks that merely explain counterpoint rules, this book starts from the practical needs of pianists and closely combines difficult polyphonic theory with lively musical practice. As a senior professor at the Shanghai Conservatory of Music, Lin Hua draws on his deep experience in composition theory and teaching to break down polyphony—often regarded as an abstruse subject—into clear, workable steps. A major highlight is the book's step-by-step structure: beginning with basic two-voice counterpoint, it gradually introduces more complex polyphonic forms such as imitation, canon, and fugue, and each chapter includes numerous selected examples from Baroque to modern works, allowing learners to understand the theory intuitively through playing. It is not merely a theoretical guide but a practical performance manual, guiding players in how to "hear" polyphonic lines and how to balance the voices in performance. For learners who already have some piano foundation and wish to deepen their musical understanding and expressive power, the value of this book lies in its ability to build polyphonic thinking systematically, so that when they face polyphonic works by masters such as Bach and Shostakovich, they no longer feel intimidated but can perceive their exquisite structure and emotional logic.

Who it's for

A good fit for

Learners with elementary to intermediate piano proficiency who wish to study polyphony systematically.
Piano teachers seeking a clear and effective framework and materials for teaching polyphony.
Music lovers interested in Western music theory, especially counterpoint.
Children or adult students currently practicing Bach's Inventions or The Well-Tempered Clavier who wish to deepen their understanding.

Not a good fit for

Complete beginners with no piano background; the book requires some ability to read music and play.
Readers interested only in pop piano improvisation and accompaniment and not in studying the inner structure of classical music in depth.

Reading tips

It is best to use this book alongside actual piano repertoire (such as Bach's Little Preludes and Fugues), learning and practicing at the same time.
When reading the theoretical sections, be sure to try the examples and exercises at the keyboard, using your ears to verify and feel the theory.
You can listen to recordings of the classic polyphonic works mentioned in the book to build an overall sonic impression, then combine this with textual analysis to deepen understanding.

About the publisher

Shanghai Music Publishing House China · Founded in 1956

Shanghai Music Publishing House focuses on music and dance books and textbooks, with a brand identity built around piano literature and music classics. Its catalogue of about 592 titles includes categories such as film and television and theory. Representative works include the Norton series on music history by period—Twentieth-Century Music, Romantic Music, Classical Music and Baroque Music—as well as Feinberg on the Art of Piano Playing, A History of European Music and Beethoven's Symphonies: An Artistic Vision. Its contributors include authors and scholars such as Philip Downs, Leon Plantinga, Robert Morgan and Richard Hoppin, along with translators and scholars Liu Danni, Chen Hongduo, Gan Fangmeng and Liang Qing. The press emphasizes translations of Western music scholarship while also supporting Chinese-language writing on music history and theory, giving its list a core strength in period histories, style histories and performance art; public information on other areas is limited.

版权信息
前言
复调音乐基本知识
第一部分二声部
一、二声部自由织体
（一）单手弹奏二声部
（二）双手弹奏二声部
二、二声部格律形式
（一）创意曲格律简示
（二）小赋格模式简示
第二部分三声部
一、不同性质线形的结合
（一）旋律与不同类型线形的组合
（二）织体自由变奏
二、独立旋律的结合
（一）对比织体
（二）带有模仿的织体
（三）三声部卡农
（四）自由处理三声部复调小曲
三、三声部格律形式
（一）三声部创意曲进程简示
（二）完整格律形式
索引

FAQ

Is this book suitable for self-study?

The book is clearly structured, rich in examples, and written in an accessible style, making it very suitable for self-study by diligent learners. However, polyphony places high demands on listening and thinking; guidance from a teacher on specific problems in practice will produce better results.

How long does it take to study this book?

This depends on the learner's foundation and time commitment. It is advisable not to rush but to proceed steadily chapter by chapter. Fully mastering the content and being able to apply it initially in performance may require several months to a year of sustained study and practice.

What is the relationship between this book and teaching materials such as Bach's Inventions?

This book is a systematic guide to theory, analysis, and method, while Bach's Inventions and similar works are classic practical repertoire. The relationship is that of "teaching how to fish" versus "giving fish." This book provides a toolbox for analyzing and playing these classic polyphonic works, and the two are best used together.

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About the author

Lin Hua Author · Chinese · 1942

Lin Hua (b. 1942) is a professor and doctoral supervisor in the Department of Composition at the Shanghai Conservatory of Music, as well as a composer and music theorist. He returned to teach at the conservatory in 1979 and has served as director of the Music Research Institute and deputy director of the conservatory's press. His writings span composition theory, the psychology of musical aesthetics and piano teaching, and include more than thirty works, among them A Course in Polyphonic Music, A Course in the Psychology of Musical Aesthetics, Advances in Musical Pilgrimage and I Love Bach; A Course in Polyphonic Music received first prize for outstanding teaching materials from the Ministry of Culture. In recent years his writing has ranged more widely: the works held here include accessible music books such as An Introduction to Opera (revised edition) and The Classic of Music Mountains and Seas: Entertaining Talks on Western Favorites, teaching titles such as Piano Practice Diary and First Steps in Piano Polyphony, and even medical material on the collection and processing of Chinese medicinal herbs. Overall his writing balances scholarship with readability, turning specialized knowledge into plain, engaging prose.