12:34 the sixth entry pattern which gives the index Jv=1 (C-F-c) is actually quite useable; 3rds become 4ths in this index, and since the 4ths occur in voices supported by the bass, they are consonant. Furthermore, the outer octave entries (C and c) are at Jv=0, so they are free to take any consonance that is convenient. With all that in mind, P and R1 can form 3rds, and later on P and R2 can form 6ths (while R1 and R2 are forming 4ths), which can yield a string of parallel 6-3 chords (the challenge then becomes how to make it more varied with suspensions and other devices). The same effect mostly occurs with the eighth entry pattern c-F-C, but with Jv=-1, where 4ths become 3rds (one has to initially be mindful of the unsupported 4ths, but when the bass comes in, this is no longer a problem.)
Your videos single-handedly saved me a semester in college, allowing me to skip Theory 1 and move into Theory 2 early. Thank you for all of your videos.
Can't go back and forth without triggering adverts for products I already use... But I love your videos, beautifully presented with well-chosen examples. Thank you!
10:56 There’s an alternative way to work out the vertical shift, which I personally find easier: 1. Measure the intervallic distance between the voice entries (first notes) of P and R1; E in bar 1 for P, and A in bar 3 for R1 respectively, giving us a 5th below. 2. In an imaginary voice, write out the same interval in the same direction at the same number of measures as before, but between R1 and the imaginary voice (A in bar 3 to to D in bar 5, another 5th below). 3. The imaginary voice D should line up rhythmically with the upper octave A in the treble (bar 5). Measure the number of scale steps between D and the upper A in negative numbers (since it’s an inverse shift), and you’ll get Jv=-11. In short, you project an imaginary voice replicating your original time and pitch interval and measure it against the 3rd vertical entry with which it coincides, and you’ll find your desired vertical shift visually.
Dr. Gran, i love all your videos sir. i’m going through all of them waiting to see if there is a term or method of “implying” counterpoint on an instrument that doesn’t do chords (bass guitar). if i can’t technically do “note against note” is there a method to achieving counterpoint by playing one note at a time with the bass guitar as a solo instrument. thank you sir
If you are working in most styles of popular music (including electronic), the principles of tonality may still apply. Consonant intervals go together, octaves blend into each other, chords on certain scale degrees have a certain push-and-pull. Perhaps there is most scope for the literal application of counterpoint in 'melodic' subgenres of electronic music. It is down to your own discretion as to what fits the genre you're working in as to how much you relax the strict rules of counterpoint (parallelisms, dissonant intervals etc.). But beyond this, the principles of counterpoint can be applied to other musical parameters (rhythm, timbre, instrumentation etc.); counterpoint is the art of musical variety, and this mindset of tasteful variegation can be applied to any and all forms of musical contrast.
@@PiersHudsonComposer i’m waiting to see if there is a term or method of “implying” counterpoint on an instrument that doesn’t do chords (bass guitar). if i can’t technically do “note against note” is there a method to achieving counterpoint by playing one note at a time with the bass guitar as a solo instrument. thank you sir
@@aliveormedicated There's a concept known as 'compound melody', where a single line implies multiple voices. Bach's solo works exemplify this approach (e.g. the cello suites, partitas etc.).
@PiersHudsonComposer bingo. thank you but i can’t find much on this subject. could you point me to any books or resources that cover this? (from step 1 preferably)
12:34 the sixth entry pattern which gives the index Jv=1 (C-F-c) is actually quite useable; 3rds become 4ths in this index, and since the 4ths occur in voices supported by the bass, they are consonant. Furthermore, the outer octave entries (C and c) are at Jv=0, so they are free to take any consonance that is convenient.
With all that in mind, P and R1 can form 3rds, and later on P and R2 can form 6ths (while R1 and R2 are forming 4ths), which can yield a string of parallel 6-3 chords (the challenge then becomes how to make it more varied with suspensions and other devices).
The same effect mostly occurs with the eighth entry pattern c-F-C, but with Jv=-1, where 4ths become 3rds (one has to initially be mindful of the unsupported 4ths, but when the bass comes in, this is no longer a problem.)
Really interesting and concise - thanks for posting! Also for your previous videos in this series. And for the Grove/Taneev link. 👍 Love your Amen.
Your videos single-handedly saved me a semester in college, allowing me to skip Theory 1 and move into Theory 2 early. Thank you for all of your videos.
I’m loving this new series, Jacob!
Can't go back and forth without triggering adverts for products I already use... But I love your videos, beautifully presented with well-chosen examples. Thank you!
I loved the Clue reference.
10:56 There’s an alternative way to work out the vertical shift, which I personally find easier:
1. Measure the intervallic distance between the voice entries (first notes) of P and R1; E in bar 1 for P, and A in bar 3 for R1 respectively, giving us a 5th below.
2. In an imaginary voice, write out the same interval in the same direction at the same number of measures as before, but between R1 and the imaginary voice (A in bar 3 to to D in bar 5, another 5th below).
3. The imaginary voice D should line up rhythmically with the upper octave A in the treble (bar 5). Measure the number of scale steps between D and the upper A in negative numbers (since it’s an inverse shift), and you’ll get Jv=-11.
In short, you project an imaginary voice replicating your original time and pitch interval and measure it against the 3rd vertical entry with which it coincides, and you’ll find your desired vertical shift visually.
I thought of this same way too (with a few differences) and found it easier to understand.
I really appreciate these videos, thank you!
Thank you!
I’m really enjoying your videos, thank you for providing this content!
Glad you enjoy it!
thank you so much this is so clear and understandable ..best regards
Very based.
Dr. Gran, i love all your videos sir. i’m going through all of them waiting to see if there is a term or method of “implying” counterpoint on an instrument that doesn’t do chords (bass guitar). if i can’t technically do “note against note” is there a method to achieving counterpoint by playing one note at a time with the bass guitar as a solo instrument. thank you sir
Hey I make house music, all these counterpoint help my or its only for classical or movie music?
If you are working in most styles of popular music (including electronic), the principles of tonality may still apply. Consonant intervals go together, octaves blend into each other, chords on certain scale degrees have a certain push-and-pull. Perhaps there is most scope for the literal application of counterpoint in 'melodic' subgenres of electronic music. It is down to your own discretion as to what fits the genre you're working in as to how much you relax the strict rules of counterpoint (parallelisms, dissonant intervals etc.).
But beyond this, the principles of counterpoint can be applied to other musical parameters (rhythm, timbre, instrumentation etc.); counterpoint is the art of musical variety, and this mindset of tasteful variegation can be applied to any and all forms of musical contrast.
@@PiersHudsonComposer i’m waiting to see if there is a term or method of “implying” counterpoint on an instrument that doesn’t do chords (bass guitar). if i can’t technically do “note against note” is there a method to achieving counterpoint by playing one note at a time with the bass guitar as a solo instrument. thank you sir
@@aliveormedicated There's a concept known as 'compound melody', where a single line implies multiple voices. Bach's solo works exemplify this approach (e.g. the cello suites, partitas etc.).
@PiersHudsonComposer bingo. thank you but i can’t find much on this subject. could you point me to any books or resources that cover
this? (from step 1 preferably)