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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The material may be used free of charge provided that the author’s name is included. But the composer can’t divide up a work that has not yet been written. There is always one line introducing each alteration. If the listener is to have the impression of related events occuring at the same time, the strands must coalesce into a coherent whole. Please contact me at: 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.
Nor can one hear them out of their harmonic context, at least as long as they are being played together. The former are general principles, which cannot be avoided if the music is to be performable at all; the latter are, by nature, provisional rules of thumb designed to avoid common elementary problems, or to force the student to concentrate on a particular problem and to avoid others that might be confusing. In short, the information presented is unclear, and leaves the listener trying to puzzle counterpont the harmony from conflicting cues.
Compare the direct octave into the 1st beat, 2nd bar in the bekkin 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.
Each of the first two bars begins and ends with the same note; the ear notices both the accented notes, and the progression from the last note of the bar to the first note of the next. They are counetrpoint always improved by addition of a third or sixth to one or both of the involved notes, in another part.
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. To hear other examples of my music, please visit the worklist page.
Now that the Modern Harmony and the Applied Counterpoint courses are complete, I will be offering a new course: 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. The composer’s problem is to add to existing music, and that requires a different kind of thinking. At times decisions about orchestration, articulation, tempo, etc.
Counterpoint | Alan Belkin Music
This point merits further discussion. Now I’m retired and I want these courses to be available to a larger audience, online. Here the top parts arrive at a consonance suggesting a D minor chord, and the bottom parts, in their turn, suggest a first inversion C major chord.
For those having problems with the plug-in required to hear the examples, Riccardo Distasi kindly wrote a script adding plain links for each example. In fact, third species counterpoint corresponds almost exactly to the ancient tradition of “differencias”, wherein the student systematically explores all possible ways of filling. The problem is not that analysis as currently taught is bad, but that it is often not asking the questions a composer needs answered.
Note concerning the musical examples: If such pedagogical constraints are presented as global rules, they lead quickly to nonsense. The composer has to decide all of these things when composing. Because many analysis courses these days, taught by theorists and musicologists, are not always that useful for a composer. And finally, what makes great pieces as powerfully expressive as they are? How and why did he decide on these individual differences? 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.
As a composer, I want to know these things, since they apan me with my own composition: Such exercises are challenging, and should be part of every program of contrapuntal study. Alan Belkin, composer alanbelkinmusic gmail.
Alan Belkin is creating another online course: Analysis for Composers | Patreon
Here, our aim will be to explain contrapuntal principles so as to provide the most general applications possible. The 7ths sound rough, and counterponit follows sounds empty. Otherwise the altered note would be doubled, creating harshness as well as a weak resolution. Otherwise, apart from very occasional special cases, like word painting, the dissonant note will sound like a mistake.
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. Counferpoint the first, the arrival on the major seventh in bar 3 second beat is very harsh since the upper parts move in similar motion.
Principles of Counterpoint
This is what this course will explore. The ear is thus not encouraged in any way to associate these octaves. The main problem with scholastic approaches is that they often substitute rigid rules for flexible general principles, and thus fail to provide guidance in enough varied musical situations to be useful in practice.
The purpose of the proposed course is to explore various pieces from the standard repertoire from the point of view of a composer. This also helps bring together the two disciplines. I plan on starting this new course before the end of January,