Learning Counterpoint On Your Own - Art of ComposingWe begin this semester's work with 5 exercises in writing modal counterpoint in two, three and four parts. The purpose of these exercises is NOT to become proficient in writing music in the style of the Renaissance. This is an admirable activity, but is a course all to itself, and frequently is offered at the graduate level. The purpose here is to learn to write counterpoint within the various modes as a way to develop the ability to hear and express yourself using multiple independent voices, without regard for the formal vertical harmony, expressed as a chord progression. Towards this end, it is not necessary to adhere to the strict style of Fux and his followers. We will be quite a bit looser, while still observing certain principles that are essentially grounded in acoustics as well as in aesthetics of the style. The following then are the principles that we will follow.
Modal and Tonal Counterpoint
What spacings between adjacent voices do you observe? The key word in this style is homogeneity. Its melodies are primarily conjunct, avoiding the large skips and triadic figures more proper to instrumental music. Analyze all harmonic intervals between each pair of voices in the following example and all subsequent examples in this chapter.Your article is useful to me. All those notes marked in red have been altered. It becomes clear, but now in the context of four-voiced counterpoint rather than two-voiced, and the treatment of accented sylla? Text: Discuss text divisions and text setti.
Write out these examples neatly anf carefully so that they can be used as models in your writing. The only exception to this procedure is stretto imitation at one or three beats. All these are equally as important as the actual aural perception to understanding the music and how it works. We begin this semester's work with 5 exercises in writing modal counterpoint in two, three and four parts.
Table of contents.
childrens book spot the dog
Counterpoint # 7 - 5th species
It is hoped that each class will include some singing and some listening. Add a voice in invertible counterpoint at the octave above and below the following lines. Seminal analytical methods such as those developed by Heinrich Schenker or Allen Forte do not necessarily illuminate the actual compositional process used by the composer when writing a piece. I feel your pain.