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  1. Counterpoint is essential in my music (and it should be in general). I took some wonderful courses on counterpoint long ago, and they were essential in my personal musical development. I went into the idea of taking the basic concepts and use them in other styles. Fugue "a lo barroco" (baroque-style) is not my favourite field, but sometimes I do. it for fun, without that obsession about fifths and parallels, etc.... If it sounds good to me, it's OK. Three examples (the numbers is because they are part of a larger series): 08 Double Fugue in Ebm 11 Fugue in Fm (Doppo l'scu
  2. Two-part invention. My first "serious" invention written after analysis of Bach's two-part inventions.
  3. This is the first time that I improvised a fugue subject and multiple countersubjects and didn't immediately come across contrapuntal errors with my Check Harmony Rules plugin in Musescore. I haven't bothered to look more in depth though(like every note kind of depth). So there might be some errors that I missed. I want to resolve these before I move further with the fugue. As you can probably tell by the PDF file, I wrote this fugue exposition with the text of a Requiem in mind, specifically, the Introit, which is the first section of a Requiem mass. Augmented intervals, those most likely hav
  4. hello everyone, this is my first post, I am glad to have found this place! I am doing my species counterpoint believing that there would be few instances of broken rules in actual works. I thought that I would have to be very strict when writing a countersubject for example. Below are the beginning lines from invention 1 and fugue in c minor on which I have marked intervals that are "forbidden". How can I make the jump from strict species to actual writing? thank you in advance, Aristides.
  5. Here is my contribution for the Christmas Event. Carol of the Bells is, by far, one of my favorite works. I just hope this fugue gives it justice.
  6. Have you ever wanted to learn Baroque-style counterpoint? I am now offering counterpoint lessons over at NewBaroque for £40 / week. Here's the link: https://www.newbaroque.org/lessons/weekly The format of the lessons is one assignment every week (or every two weeks), which I'll mark and give you feedback on. Requests for specific exercises are welcome too.
  7. I'm still not satisfied with my counterpoint, so I wrote these two little practice pieces. They're not mentioned for any instruments, but I had to choose something when making an mp3. Also, this is my first finished canon, that is I've written many canonical passages but this is my first standalone finished canon :D What do you think of these?
  8. Hi all! It's been a while since I've been on... and I'm returning with a question about Fux's counterpoint from Alfred Mann's The Study of Counterpoint: Are the solutions to each of Aloysius' examples (with corrections) the only acceptable solutions? In attempting to complete the very first exercise (first species counterpoint on the given cantus firmus, in the bottom voice, in dorian mode), I find there are good reasons to rule out most of the consonances that could be considered. However, I don't know if there are hard and fast rules which make the answers that Joseph gives the
  9. In my ongoing project of composing six small preludes, this one was very difficult to write for me and I am not very satisfied with the result. Basically, it is a canon from measures 1-11 with the upper voice leading, and and then a canon from measures 12-30 with the lower voice leading. M. 1-6 and 12-17 are virtually identical with the voices just exchanged and once in the tonic, then in the dominant (double counterpoint). The tonal plan is C Major -> G Major -> e minor -> G Major -> C Major. Very simple, but it was a new experience for me to change keys in a canon. I wanted
  10. Christmas is coming... Just for fun I took some traditional melodies, some of them from Spain, and did something with them: CAMPANA SOBRE CAMPANA Partitura completa.pdf Hacia Belén va una Burra Partitura completa.pdf FUN FUN FUN Partitura completa.pdf NOCHE DE PAZ Partitura completa.pdf CAMPANA SOBRE CAMPANA - CAMPANA SOBRE CAMPANA (fuga).mp3 Hacia Belén va una Burra - Hacia Belén va una burra rin-rin (fuga).mp3 FUN FUN FUN - FUN FUN FUN.mp3 NOCHE DE PAZ - NOCHE DE PAZ.mp3
  11. TL;DR underneath. When I first learned things about harmony and voice leading, I learned to avoid parallel and direct fifths and octaves, to avoid dissonances, and things like that, because they're against the rules. I reasoned that the rules weren't arbitrary, so they had to be there for a reason; people want their music to be likeable, things that sound bad aren't likeable, therefore, invent rules to keep music from straying into the boundary of bad. But, as everyone knows, one of the first responses to that is, 'But that doesn't sound bad!', and the reply, 'It diminishes the independence
  12. I was wondering about how to start writing a fugue? I understand they are hard to play, so is there a good process? I mean like composing in front of a piano kind of way. Help appreciated!
  13. To improve my skills, I am now in the process of writing a set of six small preludes for piano (or any other keyboard instrument with a range of four octaves) with a contrapuntal flavour. Four of them are somewhat finished, and one of them is this prelude in d minor that is planned as number 6 of the set. It has a rather simple structure that in the literature is sometimes described as reminding of simultaneous double fugues, because the main building block is a small subject and an fixed accompaniment in double counterpoint, quasi a countersubject. The subject and countersubject visit in a qu
  14. Greetings. When I start to compose a piece, I start writing the melody, usually for instruments like flute or violin. Then, when writing melody is done, I start thinking of orchestration and arrangement. I usually harmonize violins like this : Violin I plays the melody I wrote, Violin II plays the same melody one octave lower (and when musescore or other software warns me about notes which are not on the instrument, I just replace them with rests). But, when It comes to other instruments, like Cellos, or Violas, or any other instrument, I really don't know what should I do.
  15. This piece uses the claves, tambourine, bongos, congas, cabasa, hand clapping, and marimba. It's primarily rhythmic, so the marimba is used sparingly.
  16. This is a three voice fugue written for harpsichord. Let me know any thoughts you have about it. Thanks!
  17. This a short and simple canon for harpsichord written in three part counterpoint. The outer two voices form a strict canon at the octave and the middle voice is in free counterpoint. Let me know what you think!
  18. This little piece uses different contemporary techniques such us random dynamics, interval set, dodecaphonic scales, etc..., in a counterpoint background including canon (octava, motu contrario, prolation).
  19. It's a kind of " stiff upper lip " litle piece of music
  20. I've been writing a pretty large scale orchestral piece lately and I've come upon a section that I'm hoping to have some kind of 12/8 orchestral fugue(Inspired heavily by the double fugue preceding the famous "Ode To Joy" chorus in the final movement of Beethoven's 9th). Here I face two problems: Working out the counterpoint(which is in a minor to make things worse) and figuring out how to orchestrate it. How could one orchestrate counterpoint to avoid voices getting covered up or not blending well as well as keeping the limitations of each instrument in mind. Also, are extra chords not invo
  21. Hi all! In 4 part harmony, moving by an Augmented Second is considered dissonant, even if the interval of 3 semitones is considered consonant. My question is : The dissonance of an augmented second is relative to the musical scale used ? Let's say an E harmonic minor scale for example: If I move a voice from C to D#, it would be dissonant because I'm moving through an Augmented second. But if I leap from E to G, it would be less dissonant because this time I'm using a minor third, even if the number of semitones remains the same (3) . Is this right, if not can someone
  22. I am studying Fux's Gradus Ad Parnassum, and I've gotten to the end of the first species. Before I move on to the second, I'd like to try and write a bunch of cantus firmi that I can then harmonize, for practice. The book left me with many questions about how this might be done, so I looked at a few other books and websites. Now I'm sifting through that information (not all of which is in agreement) and trying to put together a set of guidelines. I still have questions, however, and I'm hoping you can help me with some of them. The first deals with outlined intervals. I have read that augm
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