Alan Belkin - Principles of Counterpoint - Download as PDF File .pdf), Text File . txt) or read online. Alan Belkin, Page 2. Alan Belkin, composer. A Practical harmony, counterpoint, and orchestration, but useful principles of musical form, explained from. Veja grátis o arquivo Alan Belkin Principles of Counterpoint enviado para a disciplina de A pdf version of this book is available for download here. I am looking.
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A pdf version of this book is available for download here. I am looking for a volunteer to contact me at: [email protected] This series is dedicated to. A pdf version of this book is available for download here. An Italian version of this book (pdf) is available here. There is also a Spanish version. I am looking for a. Principles of Counterpoint by Alan Belkin. This book is the second in a series of four short works on the teaching of musical composition. In the first volume.
Chapter 3: Relationships between lines Counterpoint is often defined as the art of combining independent lines. We have already remarked that this is misleading: unless the musical texture makes sense as a whole the result will sound arbitrary or confused. To better make this point, one might use a social analogy: contrapuntal lines are like individual voices in a community, engaged in conversation. All the participants are welcome and active, but for the discussion to remain coherent requires that each member contribute without attempting to overpower the others. Of course not all conversation is civilized, and one might attempt to musically represent such less "democratic" discourse for dramatic ends. This kind of counterpoint exists, and can even be found in classic operas, where two or more opposing points of view are represented simultaneously. But the challenge in such contexts is still to maintain overall coherence: Simply combining unrelated materials haphazardly does not require any special skill, and usually does not result in artistic interest.
Part 1: Review of Elementary HarmonyA 2 exercises harmonise for 4 part choir, in keeping with the given beginning: - determine the cadences - compose the bass line - fill in the middle partsB 4 exercises Add a figured bass to the given melody, in keeping with the givenbeginning instrumental style, the harmonic rhythm may vary : - determine the cadences - compose the bass lineIn these exercises, aim for clear tonal direction, well prepared, flowing modulations,smooth voice leading, and a bass line which is harmonically solid and melodicallyinterestingPart 2: Motives 4 exercises For each exercise, continue the accompaniment to the end of the phrase, using the samemotive.
In these exercises, aim for: - logical and coherent use of motives - logical harmonization of motives; coherent treatment of dissonances - control of rhythmic momentumMotives add to linear coherence. A motive is a short, memorable pattern, which isrepeated and varied. Such patterns createassociative richness. Motives stimulate the memory, and thus can be used to createconnections going beyond simple short term continuity. Conversely, introducing acharacteristic motive and then ignoring it usually creates distraction and weakens theoverall effect.
Dissonance formulas, apart from the most basic ones passing and neighbour notes inneutral rhythm , in effect create motives, requiring continuation. The frequent repetition undergone by most motives requires more orless continual variation to maintain interest. The key point is whether an attentive listeneris more struck by the novelty of a given motivic transformation or the association withthe original. Certain motivic variants, for example retrograde, augmentation anddiminution, often upset the rhythmic flow; they may be easy to seize visually, but whenheard are often quite dissimilar to the original form.
Add figures to the bass line. A single phrase demonstrates in a microcosm all the basic elements of a musical design. A phrase must have a beginning that provokes interest; it must develop coherently,inviting increasing involvement on the part of the listener, and it must supply a sense ofresolution at its end.
The degree of finality implicit in its punctuation will depend on thephrase's position in the whole piece. B Additional exercises: Compose three phrases, following the harmonic schemes givenbelow: invent a motive, and develop it throughout the phrase.
You may use inversionsof the given chords.
Only a figured bass is required inaddition to the melody. In these exercises, aim for: - coherent motivic development and logical harmony in a 2 phrase period.
A period contains two phrases, in a question and answer relationship. This relationshiplargely results from the cadences: the first is open, and the second closed.
The listenerhears the second phrase in the light of the first, and the antecedent-consequentrelationship is evident at least at the start and at the end of the second phrase. As in asingle phrase, over the whole period the listener should be drawn in quickly, experience agradual intensification, and feel closure at the end. B — the Double Period 4 exercises - Bring the given opening to a half cadence, or else to a full cadence in a closely related key.
The final cadence should clearly be the strongest of all. The double period is a highly symmetrical - and therefore stable and predictable -structure which also gradually develops in intensity.
However the tension is prolongedover four phrases.
I get it! Bach learned from it, and so did Beethoven and Mozart and blah blah blah… I am sure with the combined brain power of the world, we can come up with some newer techniques. Newer books are written for people who are clearly studying at a university or with an experienced teacher. Most, if not all, are professors at major universities. There are two different styles of counterpoint: Modal and Tonal. The tonal guys seem to be a bit more applicable to the kind of music I want to write, but there is not an integrated approach.
So where to begin?
Assumptions and Facts In the army, we have a specific way of approaching planning. One of the key features is we would list out our assumptions about an operation and the facts as we knew them, so lets do that. This will, I believe, continue to be true. Modal counterpoint is about the melody. Tonal counterpoint is about… the melody. If melody is not king, then you might as well just write block chords, right?
Assumptions Counterpoint is hard.
Seems pretty obvious, but I am not too sure how factual it is. I am assuming it is hard because that is what I have been brought up to believe. But like most things, I think it will just involve practice and clear principles. I think this is usually true of most things that are worthwhile.
Most of the gains in knowledge will be from actually composing. Good skills in voice leading and harmony are key. The two leading figures in Counterpoint are Bach and Palestrina. So What? Glancing back over the list, there are a few things I wrote, that I think can guide me on my plan.
I could go out and find a teacher, but that defeats the purpose of this site, which is to help people along the way of teaching themselves to compose. I think others reading about my struggle and hopefully finding the right path will help in their own struggles. Their shape, figures, and overall sound make the piece.