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Curricular Unit: Fundamentals of Composition and Orchestral Production II
Code: LPI018
Cientific area: Performance Practices

Learning outcomes

This curricular unit aims to provide students with the knowledge to continue to compose within the 18th century as well as the early 19th century (pre-romantic and early romantic) common-practice harmonic language, alongside ii) writing down reduced orchestral scores, and iii) orchestrating effectively and professionally within the styles of the periods mentioned. Furthermore, one also aims for the student to be endowed with the capacity to write modal counterpoint of the renaissance. Upon successful completion of this curricular unit, students will be able to:
– Harmonize a chorale in the style of J.S. Bach (with a more elaborate part-writing)
– Write two-part and three-part modal counterpoint across the Renaissance;
– Continue a Schubert-style lied accompaniment or to write an original composition;
– Orchestrate according to the principles of the Pre-Romantic and Early Romantic styles of L. Beethoven, C. M. v. Weber. F. Mendelssohn;
– Clearly identify the principles of the orchestra as accompaniment to a solo concerto or repertoire in the concertante style of the historical period abovementioned.


– Rules for harmonizing a melody and bass in the style of a chorale by J.S. Bach (compound meters, modulations, and altered chromatic chords).
– Rules for writing in the five species of modal counterpoint.
– Compositional principles and technical devices of harmonic rhythm and accompaniment figuration, movement and character
– Characteristics of style in L. Beethoven, C.M. Weber and F. Mendelssohn’s orchestration;
– Principles and techniques of the orchestral accompaniment (Classicism, Pre-Romanticism and early Romanticism).

Teaching methodologies

Each semester consists of 15 two and a half hour sessions. In each class is provided the theoretical and practical knowledge that will be worked out by the students, by means of in-class and homework assignments of which steady and weekly feedback is provided by the professor. Classes are usually divided into 2 blocks (1.30h allocated for composition and 1h for orchestral production).


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BELKIN, Alan. (2018). Musical Composition, Art and Craft. New Haven & Londres, Yale University Press.
BLACK, Dave, & GEROU, Tom. (2009). Essentials of Orchestration, Alfred Publishing Co., Inc.
BOCHMANN, Christopher. (2006). A Linguagem Harmónica do Tonalismo: Análises e Exercícios. Lisboa, Juventude Musical Portuguesa.
BUKOFZER, Manfred. (1947). Music in the Baroque Era. Nova Iorque, W. W. Norton & Company.
CASELA, Alfredo, & MORTARI, Virgílio. (1993). La Tecnica dell’ Orchertra Contemporânea. G. Ricordi & C.
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JEPPESEN, Knud. (1939). Counterpoint. The Polyphonic Style of the Sixteenth Century. Nova Iorque, W. W. Nortom & Company.
LAMAS, Elisa. (2006). Sebenta de Harmonia com Vista à Realização do Baixo-Cifrado. Lisboa, Juventude Musical Portuguesa.
LA RUE, Jan. (1970). Guidelines for Style Analysis. Nova Iorque, W. W. Norton & Company.
MOORE, Douglas. (1992). Guide to Musical Styles: From Madrigal to Modern Music (Ed. Rev.). Nova Iorque, W. W. Norton & Company.
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PERSICHETTI, Vincent. (1961). Twentieth Century Harmony. Nova Iorque, W. W. Norton & Company.
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PISTON, Walter. (1978). Orquestación. Madrid, Real Musical S. A.
READ, Gardner, Style and Orchestration, Nova Iorque, Schirmer Books, 1979
RIMSKY-KORSAKOV, Nikolay. (1964). Principles of Orchestration. Nova Iorque, Dover Publications, Inc.
SCHOENBERG, Arnold. (1970). Fundamentals of Musical Composition. Londres – Boston, Faber and Faber.
SCHOENBERG, Arnold. (1999). Structural Functions of Harmony. Londres, Faber and Faber.
SOLOMON, Samuel. Z. (2002). How to Write for Percussion. Oxford University Press.
TARUSKIN, Richard. (2010). Music in the Seventeenth and Eighteenth Centuries. The Oxford History of Western Music. OUP.

Teaching Staff
Nuno Dario (regent)