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tony
Joined: Oct 07, 2006 Posts: 21 Location: indonesia
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Posted: Sat Nov 18, 2006 8:25 am Post subject:
some body know about counter point |
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hai I need know about basic counter point so if you knowing tell Me ok |
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seraph
Editor
Joined: Jun 21, 2003 Posts: 12398 Location: Firenze, Italy
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elektro80
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Joined: Mar 25, 2003 Posts: 21959 Location: Norway
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Posted: Sat Nov 18, 2006 9:07 am Post subject:
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Which proves yet again that electro-music.com is all about the latest advances in rocket science.
( huh.. isnĀ“t there a rocket science emoticon? ) _________________ A Charity Pantomime in aid of Paranoid Schizophrenics descended into chaos yesterday when someone shouted, "He's behind you!"
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elektro80
Site Admin
Joined: Mar 25, 2003 Posts: 21959 Location: Norway
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Posted: Sat Nov 18, 2006 9:08 am Post subject:
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Anyways.. shades will do..
_________________ A Charity Pantomime in aid of Paranoid Schizophrenics descended into chaos yesterday when someone shouted, "He's behind you!"
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kkissinger
Joined: Mar 28, 2006 Posts: 1354 Location: Kansas City, Mo USA
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Posted: Sat Nov 18, 2006 9:28 am Post subject:
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Counterpoint is a huge topic and one can spend years studying it.
By the 16th century, an elaborate set of rules were developed for counterpoint. One of the standard texts on the topic is written by Jeppeson.
One of the characteristics of contrapuntal texture is that each note ("voice") has melodic and rhythmic independence. The opposite would be chordal texture wherein the notes support a vertical harmony and aren't parts of independent melodies.
To have multiple melodies that retain independence one avoids excessive parallel motion and avoids parallel fifths and octaves entirely. Another way to achieve independence is to have contrasting rhythms -- that is, one voice may have large note-values while the other has short note-values.
16th century counterpoint is quite rigid with dozens upon dozens of rules regarding the intervals, cross-relations, and which intervals are allowed on which beats, etc etc. 18th century counterpoint relaxes some of the rules (for example, the 18th century allows some degree of unprepared dissonances, whereas all dissonances had to be prepared and resolved in the 16th century).
Standard techniques include imitation -- that is, a melody will sound in one voice then will be echoed in another. The strictest form of this is called "canon". In the Bach "Musical Offering" you will find some of the most elaborate canons ever written, wherein the imitation may be a mirror-image of the theme, or the imitation may be backwards. (Bach was a genius at solving such musical puzzles!)
The Musical offering ends with a Ricercare: a massive fugal work in six-voice counterpoint (you can hear this on my website: http://kevinkissinger.com/bachricercare.shtml )
Wish you all the best as you explore musical counterpoint. |
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fontadoni
Joined: Nov 30, 2006 Posts: 3 Location: USA
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Posted: Fri Dec 01, 2006 1:03 am Post subject:
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If you could buy only one book on counterpoint, it would definitely have to be "The Study of Counterpoint" (Gradus ad Parnassum), by John J. Fux. It's a classic. A lot of composers have studied this book among them: J.S. Bach, Haydn, Mozart, Beethoven and is still used today for reference by music programs in the USA. It's simple and easy to read (not that the study of species counterpoint is simple, but the book presents the material in a simple and straight forward way: teacher/pupil - question/answer approach).
But sometimes (or most of the times) reading a book about music is not enough, and it's necessary to study and listen to real music, and the model for studying counterpoint has to this day been the music of J.S. Bach. So getting Bach's "Well Tempered Clavier" is probably not a bad idea (a recording would be helpful too). _________________ composersnewpencil.com | All About Music Composition
http://www.composersnewpencil.com/ |
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bachus
Joined: Feb 29, 2004 Posts: 2922 Location: Up in that tree over there.
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Posted: Sat Dec 02, 2006 8:14 am Post subject:
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The Fux is good and historically important, but I find the style tedious and very irritating and would be more inclined to go with the Jeppesen. _________________ The question is not whether they can talk or reason, but whether they can suffer. -- Jeremy Bentham |
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bachus
Joined: Feb 29, 2004 Posts: 2922 Location: Up in that tree over there.
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Posted: Fri Dec 22, 2006 7:43 am Post subject:
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Wow, that's the most audacious thereminic undertaking I've ever heard. _________________ The question is not whether they can talk or reason, but whether they can suffer. -- Jeremy Bentham |
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Mohoyoho
Joined: Dec 03, 2003 Posts: 1632 Location: Tennessee
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kkissinger
Joined: Mar 28, 2006 Posts: 1354 Location: Kansas City, Mo USA
Audio files: 42
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Posted: Fri Dec 22, 2006 9:03 am Post subject:
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Thank you very much. Glad you like the Ricercar.
The music of Johann Sebastian Bach has been a large source of inspiration over the years. |
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seraph
Editor
Joined: Jun 21, 2003 Posts: 12398 Location: Firenze, Italy
Audio files: 33
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Posted: Fri Dec 22, 2006 9:11 am Post subject:
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wow I had missed this one Impressive _________________ homepage - blog - forum - youtube
Quote: | Don't die with your music still in you - Wayne Dyer |
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