Music of Alan Belkin; online courses by Alan Belkin. Veja grátis o arquivo Alan Belkin Principles of Counterpoint enviado para a disciplina de Fundamentos de Contraponto Categoria: Outros – I am a composer and a teacher with many years experience. I taught composition , harmony, orchestration and counterpoint for thirty years at the Université de.
|Genre:||Health and Food|
|Published (Last):||27 November 2007|
|PDF File Size:||13.9 Mb|
|ePub File Size:||19.26 Mb|
|Price:||Free* [*Free Regsitration Required]|
We will only look at aspects of harmonic design that specifically relate to contrapuntal textures. In short, this book is more about the “why” of counterpoint than the “what”. We will not repeat, in detail, information easily available elsewhere. Perhaps more than any other musical discipline, counterpoint has bred ingrown academic traditions whose relevance to musical practice often seems painfully belkon.
Put another way, music, no matter how dense, is understood by one brain at a time. The fact that the tied F in the alto progresses by leap suggests that it is a chord tone; the fact that the lower parts do not move to coutnerpoint clear consonance make it difficult to consider them as just passing counterpooint. We will try to define some general principles of counterpoint, in flexible ways which are transferable to real musical situations, and not limited to the style of one period.
I plan on starting this new course before the end of January, But at worst, the student is constrained by a hodgepodge of inconsistent rules, and wastes a great deal of time struggling to avoid situations that are cointerpoint unobjectionable.
Salient parallel 5ths and 8ves. The situation in the second example is only slightly better: Enviado por Amanda flag Denunciar. Also, we will not propose a detailed method, complete with exercises, counterloint the specifics of such a method are easily derived from our approach, and indeed have been tested in the classroom for years.
The composer’s problem is to add to existing music, and that requires a different kind of thinking. Preface Introduction The teaching of counterpoint has a long and illustrious history, but its pedagogy is all too often abstracted from counterppint reality. This series is dedicated to the memory of my teacher and friend Marvin Duchowone of the rare true scholars, a musician of great depth and sensitivity, and counerpoint man of unsurpassed kindness and generosity.
This is especially flagrant when they leap. The composer has to decide all of these counteroint when composing. The former are general principles, which cannot be avoided if the music is to be performable at all; the latter are, by nature, provisional rules of thumb designed to avoid common elementary problems, or to force the student to concentrate on a particular problem and to avoid others that might be confusing.
And finally, what makes great pieces as powerfully expressive as they are?
Principles of Counterpoint
It may seem odd to move from a discussion of line directly to one of harmony, while postponing discussion of the ways in which lines interact; however, harmony is best understood as the integration of simultaneous musical lines into a coherent ensemble. Recent posts by Alan Belkin.
There is always one line introducing each alteration. If the listener is to have the impression of related events occuring at the same time, the strands must coalesce into a coherent whole. A pdf version of this book is available for download here. To hear other examples of my music, please visit the worklist page. Here, our aim will be to explain contrapuntal principles so as to provide the most general applications possible.
We will approach counterpoint as a form of training in musical composition instead of as a discipline unto itself. In the proposed variant, the dissonant F and its resolution are doubled at the 6th in the middle part, creating a much richer effect, more in tune with the style of the opening bars.
Please contact me at: However, they are not really very disturbing to the ear, because the notes in question are not accented, not on corresponding beats, and the motives in the two bars do not correspond. Pitch and rhythm are certainly very important, but they are not always the main factors behind the music’s expressive effect.
Counterpoint | Alan Belkin Music
The other volumes are Orchestration and Harmony. One excellent way to do this is to make the new alteration the resolution of a suspension. The overall effect ciunterpoint distracting, creating an inappropriate accent. The 7ths sound rough, and what follows sounds empty.
Human hearing, it seems, does not require much encouragement to seek out such connections. Ala those having problems with the plug-in required to hear the examples, Riccardo Distasi kindly wrote a script adding plain links for each example. As a composer, I want to know these things, since they help me with my own composition: I am looking for a volunteer to translate this book into German. Legal belkni of copyright exists.
Conversely, richness can be enhanced by: In the first volume, A Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional counetrpoint. As will be seen later, this is the main use for invertible counterpoint at the tenth: Another problem with much analysis is that is concentrates almost entirely on pitch and to a lesser extent, on rhythm.
Pedagogically, it is more useful to discuss why certain cases are less disturbing than some others. But the accented first beat octaves are still very salient. Rather than limiting the student to simple consonant harmony throughout study of the species, it is better to gradually enlarge the harmonic vocabulary to include seventh chords, modulation and chromaticism. Such exercises are challenging, and should be part of every program of contrapuntal study.