counterpoint - first species

[Farnaby]

This is simply an opinion based on long immersion to the style. If your ear is tuned to the English polyphonic church music of Byrd and his contemporaries you will find the false relations extremely obvious, and typically at cadences (the English cadence). It's very obviousness means that composers would only be able to use it as a special effect.

[TribeOfHǫfuð]

Opinions are ok as such. I rest my case.

[fmr]

The Golden Age was definitely the Renaissance - but Bach perhaps represents the culmination and perfection of the imitative polyphonic style.

Yes, Bach was the culmination of that style, but at a time where it was already abandoned. In that aspect, Bach was an anachronism (thankfully).

[ahanysz]

only 'followed' by ? not followed or preceeded ?

Same thing. If X is followed by Y, then Y is preceded by X.

But they do occur simultaneously in some Renaissance music, well before Bach.

Which? An example, plz. The wiki says simultanously or close proximity. I disbelief the former. You gotta go back to pagan music to find allowance of the tritonus or minor second as simultanously played intervals. Hardly in church music.

I don't have scores in front of me, but from memory I think "crunchy harmonies" were practically a signature move for Henry Purcell. Although I think it was more major 7ths and minor 9ths rather than 2nds. Then again, his style is nothing like Palestrina or Fux.

[TribeOfHǫfuð]

I don't have scores in front of me, but from memory I think 'crunchy harmonies" were practically a signature move for Henry Purcell. Although I think it was more major 7ths and minor 9ths rather than 2nds. Then again, his style is nothing like Palestrina or Fux.

Punk started early in Britain, apparently. Damn, we should have fulfilled the invasion back in the days. Britain would have fared much better as part of Scandinavia.

[Farnaby]

I don't have scores in front of me, but from memory I think 'crunchy harmonies" were practically a signature move for Henry Purcell. Although I think it was more major 7ths and minor 9ths rather than 2nds. Then again, his style is nothing like Palestrina or Fux.

A great example is 'Hear My Prayer O Lord'. Exquisite 'crunchy' harmonies indeed.

[shugs]

So my next problem is I'm writing these counterpoints but don't know how to play piano . It takes a lot of effort for me to hear what I have written since I don't have the hand/brain coordination with the keys.
Is there any software ( on the web preferably) where I can put notes on a staff or a Grand staff, and play it back to me ?

[fmr]

So my next problem is I'm writing these counterpoints but don't know how to play piano . It takes a lot of effort for me to hear what I have written since I don't have the hand/brain coordination with the keys.
Is there any software ( on the web preferably) where I can put notes on a staff or a Grand staff, and play it back to me ?

https://musescore.org/ - This one is free.

There are also commercial solution, eventually more powerful, like Finale www.finalemusic.com

[shugs]

thanks !!!

[ahanysz]

So my next problem is I'm writing these counterpoints but don't know how to play piano . It takes a lot of effort for me to hear what I have written since I don't have the hand/brain coordination with the keys.

For two-part counterpoint, I'd encourage you to keep playing it on the piano. Knowing your way around a keyboard is a really useful skill for any musician, even if you're not using correct piano technique. For most people, within a few weeks the coordination will improve and the feeling of effort will be a lot less.

(Three-part counterpoint can be a bit tricky to play though! So musescore and other suggestions are still worth checking out. Some people like to try playing two parts on the piano and singing the third.)

[shugs]

Thanks for the suggestion. Here's my next question...Say we are dealing with a two part counterpoint in a minor key...Let's say A minor. So at the ending, I need to raise the 7th to a G# leading into an A to get the leading tone working correctly (and raise the F to F# if there is one before the G) But what about in the middle of the piece ? Suppose we have a G followed by an A...DO I need to raise the G to G sharp here as well ?

[fmr]

Thanks for the suggestion. Here's my next question...Say we are dealing with a two part counterpoint in a minor key...Let's say A minor. So at the ending, I need to raise the 7th to a G# leading into an A to get the leading tone working correctly (and raise the F to F# if there is one before the G) But what about in the middle of the piece ? Suppose we have a G followed by an A...DO I need to raise the G to G sharp here as well ?

It depends what kind of counterpoint you are dealing with. If it's TONAL counterpoint, G (seventh degree) will always need to be raised if you go from that to the tonic. You may only use G natural If you are going down (away from the tonic).

Using a sequence from G to A will "destroy" the tonality (you will no longer be in A minor but in A Dorian or A Aeolian). Minor mode implies the presence of the tonal functions V-i, and that will only happens If you use G#.