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 Forum index » Discussion » Composition
some body know about counter point
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tony



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PostPosted: Sat Nov 18, 2006 8:25 am    Post subject: some body know about counter point Reply with quote  Mark this post and the followings unread

hai I need know about basic counter point so if you knowing tell Me ok
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seraph
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PostPosted: Sat Nov 18, 2006 9:02 am    Post subject: Reply with quote  Mark this post and the followings unread

try googling "counterpoint" Cool

arrow http://en.wikipedia.org/wiki/Counterpoint

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elektro80
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PostPosted: Sat Nov 18, 2006 9:07 am    Post subject: Reply with quote  Mark this post and the followings unread

seraph wrote:
try googling "counterpoint" Cool

arrow http://en.wikipedia.org/wiki/Counterpoint


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? Shocked )

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elektro80
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PostPosted: Sat Nov 18, 2006 9:08 am    Post subject: Reply with quote  Mark this post and the followings unread

Anyways.. shades will do..

Cool

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kkissinger



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PostPosted: Sat Nov 18, 2006 9:28 am    Post subject: Reply with quote  Mark this post and the followings unread

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



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PostPosted: Fri Dec 01, 2006 1:03 am    Post subject: Reply with quote  Mark this post and the followings unread

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).

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bachus



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PostPosted: Sat Dec 02, 2006 8:14 am    Post subject: Reply with quote  Mark this post and the followings unread

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.
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bachus



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PostPosted: Fri Dec 22, 2006 7:43 am    Post subject: Reply with quote  Mark this post and the followings unread

kkissinger wrote:

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 )


Wow, that's the most audacious thereminic undertaking I've ever heard. Shocked cheers cheers cheers cheers

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Mohoyoho



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PostPosted: Fri Dec 22, 2006 8:33 am    Post subject: Reply with quote  Mark this post and the followings unread

Wonderful Theremin treatment, and a good lesson on counterpoint!
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kkissinger



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PostPosted: Fri Dec 22, 2006 9:03 am    Post subject: Reply with quote  Mark this post and the followings unread

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
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PostPosted: Fri Dec 22, 2006 9:11 am    Post subject: Reply with quote  Mark this post and the followings unread

kkissinger wrote:

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 )

wow Shocked I had missed this one Exclamation Impressive Very Happy

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