Hi guys, I was wondering about if the song I have uploaded below follow the rules of counterpoint.
If so, can you tell more about it, giving examples based on this song?
It's .mus(finale) file.
http://www.sendspace.com/file/qq5jod
Thanks.
p.s: Is there a book about modern counterpoint/fugue technics?
Traditional Counterpoint rules
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- KVRAF
- 6388 posts since 8 Jun, 2009
The thing about counterpoint is: if you need to ask, it's a racing cert it doesn't follow the rules.
And if you don't need to ask, there is an even stronger chance it won't follow the rules of counterpoint.
What is this "modern counterpoint" of which you speak?
And if you don't need to ask, there is an even stronger chance it won't follow the rules of counterpoint.
What is this "modern counterpoint" of which you speak?
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- KVRAF
- 5524 posts since 5 May, 2007 from Mars Colony
Why does it matter if it follows the "rules" of counterpoint? The rules of counterpoint were more things people followed strictly in the 18th and early 19th century.
The question is: does this music sound good to you?
If it does, then it doesn't matter if you followed the "rules". If it doesn't, then keep trying different things until you get a sound that you like better.
It's up to you to become a great composer. Rules are irrelevant. Make something that sounds great, and if you haven't done that yet, keep working on it until you do.
The question is: does this music sound good to you?
If it does, then it doesn't matter if you followed the "rules". If it doesn't, then keep trying different things until you get a sound that you like better.
It's up to you to become a great composer. Rules are irrelevant. Make something that sounds great, and if you haven't done that yet, keep working on it until you do.
"You don’t expect much beyond a gaping, misspelled void when you stare into the cold dark place that is Internet comments."
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
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- KVRAF
- 6388 posts since 8 Jun, 2009
Even then it wasn't that strict once you had learned the ropes. There are exceptions even in Palestrina's published work. Fux was taught primarily for the mental discipline of being able to spot potential voice leading snafus on paper.A.M. Gold wrote:Why does it matter if it follows the "rules" of counterpoint? The rules of counterpoint were more things people followed strictly in the 18th and early 19th century.
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- KVRAF
- 5817 posts since 8 May, 2008 from ssssskipping ......... I left you there
The rules of counterpoint have been constantly changing over the time, from Dufay (1397-1474) to Schoenberg (1874-1951).
http://www.amazon.com/Counterpoint-Comp ... 734&sr=1-2
http://www.amazon.com/Preliminary-Exerc ... 760&sr=1-1
http://www.amazon.com/Counterpoint-Comp ... 734&sr=1-2
http://www.amazon.com/Preliminary-Exerc ... 760&sr=1-1
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- KVRAF
- 5524 posts since 5 May, 2007 from Mars Colony
I agree, and does anyone think Beethoven worried very much about "rules"...at least from his middle to his late period?Gamma-UT wrote:Even then it wasn't that strict once you had learned the ropes. There are exceptions even in Palestrina's published work. Fux was taught primarily for the mental discipline of being able to spot potential voice leading snafus on paper.A.M. Gold wrote:Why does it matter if it follows the "rules" of counterpoint? The rules of counterpoint were more things people followed strictly in the 18th and early 19th century.
"You don’t expect much beyond a gaping, misspelled void when you stare into the cold dark place that is Internet comments."
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
---Salon on internet trolls attacking Cleveland kidnapping victim Amanda Berry
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- KVRist
- 109 posts since 15 Jul, 2010
I don't have Finale, so I can't download that file, sorry.
Walter Piston has a good book on counterpoint for a 19th century style that is pretty easy for beginners and Kent Kennan wrote a fairly simple book on 18th century counterpoint. Humphrey Searle wrote a book on "20th century counterpoint," but I'm having a hard time making heads or tails over it. For a good all round style, my favourite book is "Counterpoint in Composition" by Salzer and Schachter. It goes from a 16th century style to a late 19th century style. Good luck finding these books without pirating though
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Also, don't think of it as "rules," even if it seems like that when you're studying it.
Depends on the style you're aiming at.ecsmix wrote:Is there a book about modern counterpoint/fugue technics?
Walter Piston has a good book on counterpoint for a 19th century style that is pretty easy for beginners and Kent Kennan wrote a fairly simple book on 18th century counterpoint. Humphrey Searle wrote a book on "20th century counterpoint," but I'm having a hard time making heads or tails over it. For a good all round style, my favourite book is "Counterpoint in Composition" by Salzer and Schachter. It goes from a 16th century style to a late 19th century style. Good luck finding these books without pirating though
.Also, don't think of it as "rules," even if it seems like that when you're studying it.
Maybe he's trying to study counterpoint? I dunno, it was just the impression I got from his post. I could be completely wrong.A.M. Gold wrote:Why does it matter if it follows the "rules" of counterpoint?
Maybe it's not so much as whether or not he "followed" these "rules," but how he actually applied these "rules" in his music. Okay, I think that's enough quotation mark abuse for one day.A.M. Gold wrote:does anyone think Beethoven worried very much about "rules"...at least from his middle to his late period?