I have been about a decade removed from music college. I like to keep up with my studies. I wanted to let you know I really appreciate all of your videos. I hope you are able to continue them for a long time. Great work!
I was always intimidated by this word "counterpoint" : seeing this as some medieval-age style of writing music that is very complex and probably will make me feel like i'm not smart enough to figure it out. Turns out i couldn't be more wrong. Not only i can have a grasp on these concepts, but they are very helpful. And now, i'm left with one question, to myself : why didn't I study that stuff much earlier in my life ? That would have added a ton of richness, coherence and complexity to my music and would have helped me tremendeously with understanding what's going on in songs that i learn and play. Here's a mistake i've made in my musical life : study a lot about guitar technique and styles, without actually diving into some "core" stuff that applies to every musical genre. Hopefully, i did write some counterpoint in my life without realizing it, and thanks the gods of music, i have this passion for jazz that saves me from being a complete noob but that's it. But enough talk. Thank you for the amazing content. It's clear, approachable with basic music theory (by basic i mean : i know intervals, chords, scales, reading music, basic harmony stuff and all the tralala) but in the same time, i know if that i put in the work, i might write some serious stuff thanks to you (i also have a couple books on the subject, but i watch your videos first, just a quick watch, before i dive deeper and then i'll re-watch all the videos and take notes and do all the homework). Again, thank you so much :)
Sorry, I'm confused by bar 5. In the Sop there is a leap of an octave and the line continues in the same direction. According to the rules of Renaissance counterpoint (as I understand them) leaps of an octave (and a minor 6th I believe) must proceed by stepwise movement in the opposite direction. Am I missing something here?
Excuse me sir, in the third and forth combination example, messure 6, the second note of alto line, note c, it is disonant and you reached it by a leap. That note is not consonant with either line. Also note E forms a disonance with the bass and the fourth leap is not resolved. Would appreciate to have your reply
@Alan Belkin Thank you for your reply. I definitely see your view, but the alto and base have a (1-2 ) second type conter point and both alto notes are disonce to the base note. Is that a rule to check only with the harmony?
@@Ung97 I'm not native English speaker, but I would try to explain as best as I can and I'll take just a last example bc it will take too long to discuss about other examples: #1 1st measure, soprano, you can't have switching tone on a hard beat (on 3rd quarter), especially not upper switching tone #2 2nd measure, soprano, after jumping for 4th, 5th or minor 6th, melody has to go on in opposite direction, so after jumping from E to A, melody has to go descending #3 5th and 6th ms., soprano, same thing #4 3rd and 4th ms., bass, jumping during quarter notes is not practical #5 5th ms., bass, suspension has to be resolved DESCENDING BY STEP, so suspensio G must go on F #6 5th, 6th, 7th, 8th ms., bass, max. number of quarter notes in a row is 10, here is 16 #7 7th ms., bass, major 6th jump is prohibited, minor 6th is allowed #8 Same ms., bass, jumping upwards on a soft beat is not practical #9 3rd ns., soprano & bass, 4th beat, they are entering the disonance in the same direction #10 9th ms., max. space between voices is 10th I hope this will help.
@@alwt1991 Here we are not talking about Bach's instrumental counterpoint. This is Palestrina's Renaissance vocal counterpoint and Bach has nothing to do with that
@@matijapongracic4812 I'm sorry, but your explanation is not helping at all, as i can't understand them YET. i came here for understanding the basics of counterpoint and as a basic exercise, not the rules.
I have been about a decade removed from music college. I like to keep up with my studies. I wanted to let you know I really appreciate all of your videos. I hope you are able to continue them for a long time. Great work!
I was always intimidated by this word "counterpoint" : seeing this as some medieval-age style of writing music that is very complex and probably will make me feel like i'm not smart enough to figure it out.
Turns out i couldn't be more wrong. Not only i can have a grasp on these concepts, but they are very helpful. And now, i'm left with one question, to myself : why didn't I study that stuff much earlier in my life ? That would have added a ton of richness, coherence and complexity to my music and would have helped me tremendeously with understanding what's going on in songs that i learn and play. Here's a mistake i've made in my musical life : study a lot about guitar technique and styles, without actually diving into some "core" stuff that applies to every musical genre. Hopefully, i did write some counterpoint in my life without realizing it, and thanks the gods of music, i have this passion for jazz that saves me from being a complete noob but that's it.
But enough talk. Thank you for the amazing content. It's clear, approachable with basic music theory (by basic i mean : i know intervals, chords, scales, reading music, basic harmony stuff and all the tralala) but in the same time, i know if that i put in the work, i might write some serious stuff thanks to you (i also have a couple books on the subject, but i watch your videos first, just a quick watch, before i dive deeper and then i'll re-watch all the videos and take notes and do all the homework). Again, thank you so much :)
I love that some voices can "gently suggest" another chord. Classy!
Sorry, I'm confused by bar 5. In the Sop there is a leap of an octave and the line continues in the same direction. According to the rules of Renaissance counterpoint (as I understand them) leaps of an octave (and a minor 6th I believe) must proceed by stepwise movement in the opposite direction. Am I missing something here?
@Alan Belkin Ah ok, that makes more sense. Thanks for clarifying :)
Excuse me sir, in the third and forth combination example, messure 6, the second note of alto line, note c, it is disonant and you reached it by a leap. That note is not consonant with either line. Also note E forms a disonance with the bass and the fourth leap is not resolved. Would appreciate to have your reply
@Alan Belkin Thank you for your reply. I definitely see your view, but the alto and base have a (1-2 ) second type conter point and both alto notes are disonce to the base note. Is that a rule to check only with the harmony?
@Alan Belkin
Thank you so much for your help.
Sorry, but your examples have a lot of errors. If you can't notice them, I can help you and tell what's wrong
I would like to know, as a student. Do you mind?
@@Ung97 I'm not native English speaker, but I would try to explain as best as I can and I'll take just a last example bc it will take too long to discuss about other examples:
#1 1st measure, soprano, you can't have switching tone on a hard beat (on 3rd quarter), especially not upper switching tone
#2 2nd measure, soprano, after jumping for 4th, 5th or minor 6th, melody has to go on in opposite direction, so after jumping from E to A, melody has to go descending
#3 5th and 6th ms., soprano, same thing
#4 3rd and 4th ms., bass, jumping during quarter notes is not practical
#5 5th ms., bass, suspension has to be resolved DESCENDING BY STEP, so suspensio G must go on F
#6 5th, 6th, 7th, 8th ms., bass, max. number of quarter notes in a row is 10, here is 16
#7 7th ms., bass, major 6th jump is prohibited, minor 6th is allowed
#8 Same ms., bass, jumping upwards on a soft beat is not practical
#9 3rd ns., soprano & bass, 4th beat, they are entering the disonance in the same direction
#10 9th ms., max. space between voices is 10th
I hope this will help.
@@matijapongracic4812 by your reasoning shall all Bach's works be wronged
@@alwt1991 Here we are not talking about Bach's instrumental counterpoint. This is Palestrina's Renaissance vocal counterpoint and Bach has nothing to do with that
@@matijapongracic4812 I'm sorry, but your explanation is not helping at all, as i can't understand them YET. i came here for understanding the basics of counterpoint and as a basic exercise, not the rules.