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.

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In the first volume, A Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional “forms”.

By rigorously avoiding parallel motion, such counterpoint guarantees that adding such doublings will not create parallel 8ves and 5ths. Otherwise the altered note would be doubled, creating harshness as well as a weak resolution. Compare the direct octave into the 1st beat, 2nd bar in the first example, which is rather prominent, since all the parts move in the same direction, with that in the second, where the suspension in the middle part creates a counterbalancing richness, and distracts the ear from the outer parts.

At times decisions about orchestration, articulation, tempo, etc. 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.

Principles of Counterpoint

How and why did he decide on these individual differences? Is it merely local color or does it articulate the arrival of a major new section? If the modulation is not to seem confused, this line must be in the foreground. Static elaboration neighbour notesgradual development passing tonesand more dramatic leaping movement arpeggiation. In fact, third species counterpoint corresponds almost exactly to the ancient tradition of “differencias”, wherein the student systematically explores all possible ways counterpoinf filling.

They are almost always improved couterpoint addition of a third or sixth to one or both of the involved notes, in another part.

Alan Belkin Principles of Counterpoint

However, certain parallel 5ths and 8ves, although prohibited in conventional species counterpoint, are quite innocuous, even unnoticeable. We will approach counterpoint as a form of training in musical composition instead of as a discipline unto itself.

If the counterpoint is not to sound haphazard or rough, the harmony needs to be as rich as possible. Further, the resolution by exchange does not diminish the level of interval counterpiont.


However, due to the unsatisfactory sound of current choral simulations, they have been rendered with organ sounds. In most species approaches, the octaves created between the C in the first bar of the above example and the D in the countdrpoint measure would be prohibited as being rhythmically too close.

Salient parallel 5ths and 8ves. Such discussions help the student refine his hearing and better predict how specific musical situations will be perceived; whereas blanket founterpoint do not encourage aural sensitivity. This is especially flagrant when they leap.

As will be seen later, this is the main use for invertible counterpoint at the tenth: All grow out of my own experience as a composer.

helkin Unless otherwise indicated, all the musical examples are my own, and are covered by copyright. I am a composer and a teacher with many years experience.

The overall effect is distracting, creating an inappropriate accent. In fact, the further one explores harmonic richness, the more it becomes a matter of refined voice leading, and the further aln advances in counterpoint, the more sophisticated the harmonic resources required to solve problems.

Principles of Counterpoint Harmony 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.

Counterpoint – Harmony | Alan Belkin Music

And finally, what makes great pieces as powerfully expressive as they are? But the composer can’t divide up a work that has not yet been written. One excellent way to do this is to make the new alteration the resolution of a suspension.

Otherwise, apart from very occasional special cases, like word painting, the dissonant note will sound like a mistake. This is an area where the standard species approach fails pitifully. But this kind of knowledge can only come from asking these questions. Why analysis for composers? I plan on starting this new course before the end of January, Now that the Coujterpoint Harmony and the Applied Counterpoint courses are complete, I will be offering a new course: The composer’s problem is to add to existing music, and that requires a different kind of thinking.

Pitch and rhythm are certainly very important, but they are not always the main factors behind the music’s expressive effect. Countfrpoint main advantages to the species approach, especially for beginners, are: Nor can one hear them out of their harmonic context, at least as long as they are being played together.


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 musically unobjectionable.

Alan Belkin, composer alanbelkinmusic gmail. It may seem odd to move from a discussion of line directly to one of harmony, bbelkin 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.

Most approaches limit themselves more or less closely to one style, and make some attempt at graduated exercises, often derived from the species method of Fux. Here the top parts arrive at a consonance suggesting a D minor chord, and the bottom parts, in their turn, suggest a first inversion C major chord.

If the listener is to have the impression of related events occuring at the same time, the strands must coalesce into a coherent whole. I say “explicit variety of rhythm” because, even in a eblkin in steady quarter notes, leaps and changes of direction will inevitably imply some rhythmic groupings. Another problem with much analysis is that is concentrates almost entirely on pitch and to a lesser extent, on rhythm.

This is what this course will explore. The 7ths sound rough, and what follows sounds empty. If such pedagogical constraints are presented as global rules, they lead quickly to nonsense. I offer private lessons in these subjects via Skype. The parallel octaves in the first example here are extremely prominent: In the first, the arrival on the major seventh in bar 3 second beat is very harsh since the upper parts move in similar motion. Here we will take a similar approach to counterpoint, treating it as an counerpoint of composition training and not as an independent academic discipline.