| Author | Topic: Counterpoint |
noolnool
Registered User
Registered:
8/29/2003 | posted: 9/9/2003 at 12:34:11 PM ET
Hi,
Today, I have been learning about counterpoint and that you should always keep the intervals between the melodies consonant. And that you should try to avoid similar or parralel motion to an unison or octave.
But should we see all other parts in a music piece as counterpoint?
I mean should we treat the bass as a part of the counterpoint, or is the bass not melodic enough?
I hope you understand my question.....
Best regards
Nool
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 Taciturn
Registered User
Registered:
8/3/2003 | posted: 9/10/2003 at 7:19:42 PM ET
Just a tip: It's okay to break the rules sometimes.
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 craneclassical
Registered User
From:
Atlanta, Ga
Registered:
9/5/2003 | posted: 9/11/2003 at 1:05:52 AM ET
Yes, I would have to agree with Taciturn...you see......years of very narrow and regimented contrapuntal rules were actually, created by the study of great master's compositions. In other words, even Bach had broken some of the "rules" of voice leading....parallel fifth and definitly direct, or more (Walter Piston termed)...hidden octaves countless times... I studied Shankarian analysis...and when I didn't place a certain note on a graph that Bach never included in the music in that measure, I was told...that it "existed" due to the need to fulfill a rule....guideline, more specifically, the D in the soprano would have fulfilled a 3, 2, 1 decent back to the tonic, during a implied perfect authentic cadence. Who really cared what Bach actually wrote anyhow?....hehe....hope this wasn't to technical...Adam www.craneclassical.com
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noolnool
Registered User
Registered:
8/29/2003 | posted: 9/11/2003 at 6:49:38 AM ET
Hi,
Thanks for the answers!
But are these rules also broken in pop music?
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craneclassical
Registered User
From:
Atlanta, Ga
Registered:
9/5/2003 | posted: 9/11/2003 at 1:01:11 PM ET
yes in pop music, many rules are actually to include parallel intervals. "Power chords" from early 80's punk were root and fifth parallel fifths
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noolnool
Registered User
Registered:
8/29/2003 | posted: 9/11/2003 at 4:41:12 PM ET
Alright , I understand..
Many thanks for your info!
Best regards
Nool
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trumpet guru
Registered User
From:
Washington State
Registered:
8/22/2003 | posted: 9/21/2003 at 12:10:58 AM ET
You can think of counterpoint as a tool for composition (among many tools). If you are studying the music of a certain time period, it is important to understand what was happening and why. If you are composing in the style of a particular composer (or group of composers) you should attempt to follow the "rules" developed from the study of their music. Not to do so would lead to unauthentic sounds. If you are in a college theory class and the teacher wishes you to understand baroque counterpoint, and then demonstrate it is your own writing you should "follow the rules for sure". Great music is great for good reasons. By learning the way great composers created contrapuntal lines in different eras you can better express your own ideas effectively. I would say you should learn the rules before you set out to break them. As craneclassical said, the rules were developed by later study of great music and are essential to the sound and function of that particular music. Some rules have stood the test of time and should be followed in most cases. As you grow as a composer you may set out to break the rules only to discover that it has already been done and that and it has become a "rule" of another period. In the Renaissance tritones were strictly avoided, but many Baroque composers thrived on the tension/release they provided. Good Luck!
GOOOOOOROOOOOO
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Daulos
Registered User
From:
Zaragoza
Registered:
10/9/2013 | posted: 10/9/2013 at 11:14:11 PM ET
http://www.daulos.gr
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