ALAN BELKIN COUNTERPOINT PDF

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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I say “explicit variety of rhythm” because, even in a line in steady quarter notes, leaps and changes of direction will inevitably imply some rhythmic groupings. We will approach counterpoint as a form of training in musical composition instead coynterpoint as a discipline unto itself.

Alan Belkin is creating another online course: Analysis for Composers | Patreon

At best, of course, an inspiring teacher can fill in the gaps and make the subject seem relevant. Otherwise, apart from very occasional special cases, like word painting, the dissonant note will sound like a mistake.

Is it merely local color or does it articulate the arrival of a major new section? Most explanations counherpoint modulation focus on pivot chords; however the way newly altered tones are approached melodically is at least as important in making a modulation convincing to the ear.

Now I’m retired and I want these courses to be available to a larger audience, online.

Counterpoint – Harmony | Alan Belkin Music

This also helps bring together the beklin disciplines. In the first example, the similar motion between soprano and bass creates a strong accent on the tritone in bar 2. The parallel octaves in the first example here are extremely prominent: Also, we will not propose a detailed method, complete with exercises, although the specifics of such a method are easily derived from our approach, and indeed have been tested in the classroom for years.

Often the analyst is engaged in dividing up an existing work into sections, and in exploring how the harmony and motives work. And there are many artistic advantages to be gained from fine control counterpoit harmonic tension and direction.

Alan Belkin Principles of Counterpoint

Preface Introduction The teaching of counterpoint has a long and illustrious history, but its pedagogy is all too often abstracted from musical reality. It may seem odd to move from counteproint 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.

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They are almost always improved by addition of a third or sixth to one or both of the involved notes, in another part. Why did the composer make the specific choices we see in the music? Thanks again for your interest and support!

By rigorously avoiding parallel motion, such counterpoint guarantees that adding such doublings will not create parallel 8ves and 5ths.

In fact, third species counterpoint corresponds almost exactly to the ancient tradition of “differencias”, wherein the student systematically explores all possible ways of filling. 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.

Real world uses of counterpoint. We will not repeat, in detail, information easily available elsewhere.

For those having counterloint with the plug-in required to hear the examples, Riccardo Distasi kindly wrote a script adding plain links for each example. There is always one line introducing each alteration. So we will not spend much time discussing the “standard” musical forms, but we will discuss why the composer chooses to organize the material in a particular way for maximum expressive coutnerpoint.

Otherwise the altered note would be doubled, creating harshness as well as a weak resolution.

Perhaps more than any other musical discipline, counterpoint has bred ingrown academic traditions whose relevance to musical practice often seems painfully limited. In short, the information presented is unclear, and leaves the listener trying to puzzle out the harmony from conflicting cues. If the listener is to have the impression of related events occuring at the same time, the strands must coalesce into a coherent whole.

The pedagogy of counterpoint The pedagogy of counterpoint is couunterpoint a confused mixture of style and method.

This point merits further discussion. Leaps are normally made to and from chord tones; when there are several in a row, they are heard as outlining chords.

The problem is not that analysis as currently taught is bad, but that it is often not asking the questions a composer needs answered. 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 a clear consonance make it difficult to consider them as just passing tones. Then, the last beat of the bar has no 3rd.

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Why analysis for composers?

Principles of Counterpoint

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 a man of unsurpassed kindness and generosity. Please contact me at: As a composer, I want to know these things, since they help me with my own composition: The purpose of the proposed course is to explore various pieces from the standard repertoire from the point of view of a composer.

Such discussions help the student refine his hearing and better predict how specific musical situations will be perceived; whereas blanket prohibitions do not encourage aural sensitivity. I offer private lessons in these subjects via Skype. In the second example, this accent is somewhat weakened by the contrary motion of the bass. In most species approaches, the octaves created between the C in the first bar of the above example and the D in the second measure would be prohibited as being rhythmically too close.

Most of the examples, apart from those which are excerpts from longer compositions of mine, are intended for the voice. If such pedagogical constraints are presented as global rules, they lead quickly to nonsense.

In the first volume, A Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional “forms”. Particularly with accented dissonances, the underlying harmony can easily be obscured. Now that the Modern Harmony and the Applied Counterpoint courses are complete, I will be offering a new course: Here we will take a similar approach to counterpoint, treating it as an aspect of composition training and not as an independent academic discipline.

Patreon U Creator Coaching. 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. This is an area where the standard species approach fails pitifully.

At times decisions about orchestration, articulation, tempo, etc. The situation in the second example is only slightly better: