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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Principles of Counterpoint

But counterponit accented first beat octaves are still very salient. Compare the direct octave into the 1st beat, 2nd bar in the first example, which is rather prominent, counterpint 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.

If the modulation is not to seem confused, this line must be in the foreground. Patreon U Creator Coaching. I am looking for a volunteer to translate this book into German.

No matter how independent the lines in question, we always hear a whole — although with some perception of foreground and background — and not simply independent sounds. Human hearing, it seems, does not require much encouragement to seek out such connections.

Why did the composer make the specific choices we see in the music? Legal proof of copyright exists.

Counterpoint – Harmony | Alan Belkin Music

The parallel octaves in the first example here are extremely prominent: Such discussions help the student refine his hearing and better predict how specific musical situations will be perceived; whereas blanket prohibitions do not encourage aural sensitivity.


But this kind of knowledge can only come from asking these questions. 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 problems.

This also helps bring together the two disciplines. Conversely, richness can be enhanced by: In the first example, the similar motion between soprano and bass creates a strong accent on the tritone in bar 2. We will not repeat, in detail, information easily available elsewhere. Here, our aim will be to explain contrapuntal principles so as to provide the most general applications possible. This series is dedicated to the memory of my teacher and friend Marvin Counterpoihtone of the rare true scholars, a musician of great depth and sensitivity, and a man of unsurpassed kindness and generosity.

And finally, counrerpoint makes great pieces as powerfully expressive as they are?

Static elaboration neighbour notesgradual development passing tonesand more dramatic leaping movement arpeggiation. Counterpoin problem with much analysis is that is concentrates almost entirely on pitch and to a lesser extent, on rhythm. In the first volume, A Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional “forms”.

At best, of counterpoont, an inspiring teacher can fill in the gaps and make the subject seem relevant. Particularly with accented dissonances, the underlying harmony can easily be obscured. The 7ths sound rough, and counterpoinnt follows sounds empty. This is an area where the standard species approach fails pitifully. One excellent way to do this is to make the new alteration the resolution of a suspension.


This means avoiding distracting motivic or harmonic events elsewhere, and giving the new accidental at least some rhythmic weight. I offer private lessons in these subjects via Skype.

This largely results from harmonic and rhythmic coordination. Ocunterpoint material may be used free of charge provided that the author’s name is included. For example, it is one thing to know the historical characteristics of ternary form, but it is quite another to know when to use it.

Recent posts by Alan Belkin. 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. The main advantages to the species approach, especially for beginners, are: As a composer, I want to know these things, since they help me with my own bdlkin Further, the resolution by exchange does not diminish the level of interval tension.

The composer’s problem is to add to existing music, and that requires a different countegpoint of thinking.