#1
Hey all.

I looked up counterpoint in a dictionary, it said something like the art of making melodies around chords.
Is this the right definition because a language dictionary might have an incorrect description.
#3
counterpoint is essentially harmonising. its the interaction of two or more notes as the melody progresses
#4
Quote by Flibo


Just looked at this lesson, and I have to say, it did a great job at explaining the basics. Keep in mind that there are several "species" of counterpoint, but this gets into the basics without drowning the student.

Rarely do I give lessons a personal endorsement, but this one was spot on for what it tries to accomplish. I approve! Also the comments and suggestions in this lesson really flesh it out a bit, and in my opinion improved upon the benefits of this lesson!

Then I saw it was created by Jesse, and I said to myself "No wonder it's correct, Jesse Clarkson wrote it"!

Now what I suggest for anyone is they be spot on with their intervals, where they can say them instantly. I use the word "say" and not "figure" because ultimately, you want to be fluid and conversant in your abilities. Need a minor 6 off F? You should know its a Db immediately.

Why do I say conversant? Because you're going to want to do a LOT of counterpoint, and if you are really slow at it because you're not quick or correct in your intervals, it will be easy to give up, or burn out, its a lot of work if you cant do it very fast. Are you willing to spend 45 minutes to create a counterpoint for a 12 note melody? Maybe the first time, but what about the 6th or 7th, times, and so on as you get a little better and start to graduate through the species?

This is why I wont admit anyone "cold" to my Counterpoint series, when it's finally complete; I want them to be able to snap off the intervals instantly, so that they can spend more time in the creative element than the "figuring things out" one.

Best,

Sean
#5
Quote by Hadeed
counterpoint is essentially harmonising.


Not really. Counterpoint is what is created by the interaction of two independent voices. By independent, I mean that the two melodic contours are sufficiently different so that when they are played together, they sound as two distinct lines, rather than one being a harmonization of the other.

Harmony is merely the consequence of several pitches being played simultaneously. For something to be considered a harmony does not require them to be separate lines which move independently, whereas counterpoint definitely does (though of course harmony can occur as the vertical result of 2 or more independent lines).

Harmonic (homophonic) and contrapuntal (polyphonic) approaches to multi-line writing are often seen as being polar opposites. Of course this is grossly oversimplified, and it's this kind of reductive thinking that gets people into trouble, but it's useful as a teaching analogy even if you have to forget it again afterwards