Your fingers will be asked to do things they’ve never done before—on both hands (thanks to his application of a George Van Eps technique). Important: It does not cover the strict vocal 17th - century - counterpoint. It is well documented that Bach had a copy of the latin version and studied from it.excuse me…the modal counterpoint is useful only for , what you said…medieval times? Your recently viewed items and featured recommendations 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.For both modal and tonal counterpoint, it is really about the melodies. I’m still on my journey. Some facts and assumptions about learning counterpoint 3. If you can write better music without them, then ditch them.Thanks. The key ingredient in this is deliberate practice of difficult tasks that create specific improvement. This intimate relationship with the compositions of others will naturally inspire your own composition in ways you never imagined.Beyond favoring contrary motion and avoiding parallel fifths, (i like parallel fourths and octaves sometimes) i’ve pretty much discarded all theoretical dogma. I want to improve in my melody writing, so does counterpoint lead you to write beautiful compositions?I think the question you are asking is not quite the right question. English composers were masters of rhythmic intricacy In the music. I heard the Beatles studied counterpoint. The book uses the species approach in tonal context. The next day, listen to the same composition again, only focus on the chords. Paul Hindemith also wrote several more up to date treatments of harmony and counterpoint. I’m by no means trying to discouraging anyone from learning, or dismissing the importance of structure in composition, and Please don’t think I’m knocking J.S. While you are going about other activities, your brain continues to learn.
and that takes a lot ofI also write counterpoint to my own melodies, but for now I learn more from usingDon’t forget to practice improvisational counterpoint at the piano, and singing. Most people don’t ever see the benefit from any kind of theoretical training, because they don’t stick to it long enough to have it make it’s way into the subconscious, where they don’t need to use much brain power on it. His style is very fascinating.
Furthermore, on youtube someone posted an introduction to counterpoint series of videos and a video on fugue writing, which may be helpful if you decide to add a chapter on counterpoint in the ebook you’re working on.Song without words # 1 is great. I am all in.I’ll let you know. This is hard work but more long than difficult. The answer then is yes, it will. Where does it ascend, descend, pause? My frustrations with learning counterpoint on my own from books 2. I have studied from various textbooks on classical and jazz harmony, as well as on counterpoint, and am still studying. Piston is always reliable, but may not always the best choice. Thank you so much.Hi.
It is nice to find others who are one the self study path.I am finding more and more value, in releasing one rule at a time, and learning by making mistakes. For instance, when I first started reading William Caplin’s But now I am trying to teach myself counterpoint and unfortunately, things have not been so clear and concise. I’m not sure that is really possible myself!] This form completely disregards the harmony. Indeed, I remember a composer somewhere wrote “Theory of Harmony” is what he really needed in terms of harmony to compose, as the book (1) explains Schoenberg’s thoughts on the tonal system, and (2) gives, if I may put it so, the universal tonal rules for making strong/weak chord progressions, voice-leading, cadences, modulation, modal interchange, and even goes to the limits of tonality with extended chords, without many style-specific details, but with great comments by Schoenberg on why some rules from CPP exist, and how they could be broken.Another good book related to tonal counterpoint is Kent Kennan, but I think Schoenberg is superior in equipping the composer with a broader linear, contrapuntal thinking for music of all kinds.Thanks.
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