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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Because many analysis courses these days, taught by theorists and musicologists, are not always that useful for a composer. Recent posts by Alan Belkin. What were the alternative counterpont They are almost always improved by addition of a third or sixth to one or both of the involved notes, in another part. In short, the information presented is unclear, and leaves the listener trying to puzzle out the harmony from conflicting cues.
In the first example, the similar motion between soprano and bass creates a strong accent on the tritone slan bar 2. The overall effect is distracting, creating an inappropriate accent. The composer has to decide all of these things when composing.
Alan Belkin Principles of Counterpoint
The only major exception to this rule is the appogiatura approached by leap ; however in this case the leap to the dissonance is used as a motive. 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.
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. We will approach counterpoint as a form of training in musical composition instead of as a discipline unto itself.
This point merits further discussion. Real world uses of counterpoint. Also, we will not propose a detailed method, vounterpoint 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.
Particularly with accented dissonances, the underlying harmony can easily be obscured.
Counterpoint – Harmony | Alan Belkin Music
Is it merely local color or does it articulate the arrival of cojnterpoint major new section? Often the analyst is engaged in dividing up an existing work into sections, and in exploring conuterpoint the harmony and motives work. Static elaboration neighbour notesgradual development passing tonesand more dramatic leaping movement arpeggiation. But the accented first beat octaves are still very salient.
Patreon U Creator Coaching. Most explanations of 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.
Alan Belkin is creating another online course: Analysis for Composers | Patreon
The other volumes are Orchestration and Harmony. The material may be used free of charge provided that the author’s name is included. In fact, the further one explores harmonic richness, the more it becomes a matter of refined voice leading, and the further one advances in counterpoint, the more sophisticated the harmonic resources required to solve aaln.
I plan on starting this new course before the end of January, Why did the composer make the specific choices we see in the music? The ear is thus not encouraged in any way to associate these octaves.
All grow out of my own experience as a composer. We will try to define some general principles of counterpoint, in flexible ways which are transferable to real musical situations, and not limited to the style of one period. Perhaps more than any other musical discipline, counterpoint has bred ingrown academic traditions whose relevance to musical practice often seems painfully limited. 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 impact.
This largely results from harmonic and rhythmic coordination. 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.
Now I’m retired and I want these courses to be available to a larger audience, online. Unless otherwise indicated, all the musical examples are my own, and are covered by copyright. We will only look at aspects of harmonic design that specifically relate to contrapuntal textures.
If the counterpoint is not to sound haphazard or rough, the harmony needs to be as rich as possible.