The use of the Recorder is great much more like the voice. You have a very systematic approach and you speak at a very good pace. You explain the terms very clearly. Looking forward to more.
Nice simple intro. I studied with Schachter, and my only comment is I can hear the voices of my counterpoint teachers at Mannes crying out that you left out so many rules- I can hear them giving me grief about making sure there is a "line in the CF" with a climax, that even the OUTLINE of a dissonance would be frowned upon (e.g. having the "climax" or highest note outline a seventh with the lowest note, even if they're not consecutive, would conjure the wrath of their angry red pens pointing out my blasphemy)... anyway, for youtube it's a nice intro. I just hope there's no one trying to use this as a comprehensive guide to writing CANTUS FIRMI!!!!! (Nice echo, btw. That mad eye laugh.)
Thank you for inspiring and brief material. Thats what I like - a proper amount of content not drowned in flood of words. In examples given at the beginning there are paralell 4-ths between alto and tenor - are those acceptable?
>>what I like - a proper amount of content not drowned in flood of words. You are right! One of our goals is to not make things too detailed, too soon. Let's learn to speak and read first; Shakespeare's Hamlet will follow, in time. Ha! >>paralell 4-ths between alto and tenor - are those acceptable? Good observation! Parallel Fourths are often acceptable, especially if there are four, independent parts. (Do you perhaps have in mind Parallel Fifths?) Of course, those particular examples are mainly to illustrate the original concept of harmony being a result of the interaction of independent, melodic lines. FYI Rules of proper voice leading are dealt with through the course of the Harmony I and II Playlists on this channel (and in an upcoming series on species counterpoint).
_>Amazing video, thank you very much for doing likewise instructive videos._ Happy you are able to glean something of value from the material. Thank you for taking the time to watch, and for all the "likes," too!
some of this was objective and could have been said in another way to entertain the true notion of what's actually being said but I appreciate the effort
Im not sure if this is still a question you have, but theoretically seconds wouldn't be acceptable as you are suggesting due to them being the inversion of a seventh. However, in voice leading stepwise (whole steps or half steps) motion is built around major and minor seconds so they sort of have to be acceptable horizontal intervals despite the dissonance that accompanies them. Sevenths however definitely cannot be considered steps. Basically seconds just get a neat exception to the rules.
The echoing of 'cantus firmus' had me on the floor in stitches!
The use of the Recorder is great much more like the voice. You have a very systematic approach and you speak at a very good pace. You explain the terms very clearly. Looking forward to more.
I'm upset. There needed to be one more Cantus Firmus echo to end out the video lol.
Who else here for History 10 haha
Nice simple intro. I studied with Schachter, and my only comment is I can hear the voices of my counterpoint teachers at Mannes crying out that you left out so many rules- I can hear them giving me grief about making sure there is a "line in the CF" with a climax, that even the OUTLINE of a dissonance would be frowned upon (e.g. having the "climax" or highest note outline a seventh with the lowest note, even if they're not consecutive, would conjure the wrath of their angry red pens pointing out my blasphemy)... anyway, for youtube it's a nice intro. I just hope there's no one trying to use this as a comprehensive guide to writing CANTUS FIRMI!!!!! (Nice echo, btw. That mad eye laugh.)
Cantus Firmus makes me happy
Thank you for inspiring and brief material. Thats what I like - a proper amount of content not drowned in flood of words. In examples given at the beginning there are paralell 4-ths between alto and tenor - are those acceptable?
>>what I like - a proper amount of content not drowned in flood of words.
You are right! One of our goals is to not make things too detailed, too soon. Let's learn to speak and read first; Shakespeare's Hamlet will follow, in time. Ha!
>>paralell 4-ths between alto and tenor - are those acceptable?
Good observation! Parallel Fourths are often acceptable, especially if there are four, independent parts. (Do you perhaps have in mind Parallel Fifths?)
Of course, those particular examples are mainly to illustrate the original concept of harmony being a result of the interaction of independent, melodic lines.
FYI Rules of proper voice leading are dealt with through the course of the Harmony I and II Playlists on this channel (and in an upcoming series on species counterpoint).
Amazing video, thank you very much for doing likewise instructive videos.
_>Amazing video, thank you very much for doing likewise instructive videos._
Happy you are able to glean something of value from the material. Thank you for taking the time to watch, and for all the "likes," too!
Am I right in saying that the 2 chromatic semitones that belong to the scale are acceptable, but not other chromatic semitones?
some of this was objective and could have been said in another way to entertain the true notion of what's actually being said but I appreciate the effort
Nice and systematic. Thanks!
Muchas gracias!!
But I thought Major and Minor seconds were dissonance , so are your saying that there ok to use in counterpoint ?
Im not sure if this is still a question you have, but theoretically seconds wouldn't be acceptable as you are suggesting due to them being the inversion of a seventh. However, in voice leading stepwise (whole steps or half steps) motion is built around major and minor seconds so they sort of have to be acceptable horizontal intervals despite the dissonance that accompanies them. Sevenths however definitely cannot be considered steps. Basically seconds just get a neat exception to the rules.
Glass bead
Muito bem