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Showing results for tags 'counterpoint'.
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Hi, it's the first time I'm posting here, so I hope I'm doing this in the right place. I've taken it onto myself to learn counterpoint from a book that seems thorough enough, Counterpoint in Composition by Salzer and Schachter, but I've been stuck on the first chapter for some time and can't seem to make a decision about how to move on. My question is this: should I master the first species, two voice exercises to make them even, and sounding complete, or be satisfied for now with understanding the rules and move on. I think my difficulty also is in that the authors advise against "mechanical" writing, but I don't get how 8 notes against 8 notes can be anything but mechanical. I'm thinking if I go on then I might understand and hear the whole process better and will be able to write the beginner exercises in a way that's as good as the examples. I wish to go to school for composition soon, but right now I'm limited to studying by myself with the help of only the internet, so there's no point for you to tell me to get a teacher. Thanks! -
I was recently told on one of my peices that I need to look more into voicing. While I have a vague idea of what this means, I was wondering if someone could give me an overview of what it is (really) and how I can get better at it. Feel free to get nerdy with it, I have Google ;) PS The song is called Silver Linings and can be found with the other band stuff. It would be great if you could listen to it; I need the views and the comments hahaha
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Hey Peeps, I've brought a copy of "The Study of Counterpoint" and I'm slightly stuck on like, the third/fourth page... I fully understand everything so far up to what is Page 31 of my copy, here Joseph has been given the task of writing the counterpoint underneath a Cantus Firmus and I've got completely lost as to how he's doing it. It doesn't help that I can't actually read some of the numbers aswell because the print blotches. This is the example given: What I'm lost how you decide what the interval is... Let's take the fourth bar for example because 1 and 2 are Joseph's mess ups (bless him) and I can't actually read the Interval he's written in number 3 because it's either a 3, 5, 6, or 8. So, in the lower stave of bar 4, there's an F and then there's a D in the higher stave. So basing the interval from the Counterpoint Stave then we have a Major Sixth. But then, if you base the interval from the Cantus Firmus we have a Minor Third. This is where I get confused. What way should I be relating it to? It kinda depends on whether the interval is classed as Perfect or Imperfect. I understand that you're meant to go on the mode of the Cantus Firmus, does that mean I should just be treating the Cantus Firmus as the one that I start counting the interval from? Then I just get confused because he's written "10" instead of simplifying to a Third and stuff like that. Basically I just want to confirm I'm looking at this in the right way? Any help would be awesome! Cheers! Daryl :)
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How can I learn to hear counterpoint... without the aid of the piano? Whereas I have no trouble hearing and singing single lines, I'm not quite sure how I should approach hearing counterpoint. When writing counterpoint, it seems to me that it's absolutely essential to be able to hear both voices simultaneously, rather than just choose appropriate notes for the counterpoint part mechanically, following the rules. Let's say I've got this example: Is it really possible to hear two voices in your head, rather than hearing them as separate voices? How can I practice this? Is the underlying harmony as important as the separate voices? By that I mean: what's more important? To hear them as Cantus Firmus: DFE etc and Counterpoint AAG etc or as P5 M3 m3? Thank you in advance.
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Hi all, Here there are a number of good books on counterpoint. http://cantati.com/resources/index.html
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