I was wondering what you guys think about books on counterpoint and what books on that topic you could recommend. Im especially interested in applying it to video game music.
Let me know about your thoughts.
Your favourite books on counterpoint
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- KVRist
- Topic Starter
- 52 posts since 21 Mar, 2022
Hey guys,
I was wondering what you guys think about books on counterpoint and what books on that topic you could recommend. Im especially interested in applying it to video game music.
Let me know about your thoughts.
I was wondering what you guys think about books on counterpoint and what books on that topic you could recommend. Im especially interested in applying it to video game music.
Let me know about your thoughts.
Blub.
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- KVRian
- 823 posts since 27 Aug, 2020
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- KVRian
- 1297 posts since 23 Jun, 2007 from Findlay OH USA
Back in Ye Olden Tymes, Fux and Kennan were the recommended texts for studying modal and tonal counterpoint, they were the books I went through formally.
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- KVRist
- Topic Starter
- 52 posts since 21 Mar, 2022
Yes I am currently reading his Craft & Art book. It is truly something! But at some times I feel like im missing something out, i.e. counterpoint. Since this topic is so complex and has so many books and classes covering it, I wanted to know what the majority says.
Blub.
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- KVRist
- Topic Starter
- 52 posts since 21 Mar, 2022
The thing is I fear that I won't get a lot from the book cause it might get over my head. I mean I have been making music for a pretty long time now and have a solid music theory foundation.StudioDave wrote: ↑Tue Mar 22, 2022 10:21 am Back in Ye Olden Tymes, Fux and Kennan were the recommended texts for studying modal and tonal counterpoint, they were the books I went through formally.
But those old-timey books always make me go "meeehh do I have to?"
Blub.
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- KVRist
- 123 posts since 1 Mar, 2022
He actually has one called "Principles of Counterpoint" and I think it might just be free. Not sure if its included in the Craft & Art book.DogeSquad wrote: ↑Wed Mar 23, 2022 9:32 amYes I am currently reading his Craft & Art book. It is truly something! But at some times I feel like im missing something out, i.e. counterpoint. Since this topic is so complex and has so many books and classes covering it, I wanted to know what the majority says.
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- KVRAF
- 15365 posts since 8 Mar, 2005 from Utrecht, Holland
If the video game calls for renaissance-style compositions and you want to do it properly, only then the answer is yes.
We are the KVR collective. Resistance is futile. You will be assimilated. 
My MusicCalc is served over https!!
My MusicCalc is served over https!!
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- KVRer
- 8 posts since 23 Mar, 2022
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- KVRian
- 1297 posts since 23 Jun, 2007 from Findlay OH USA
Counterpoint doesn't necessarily teach a period style, nor is it at all about how to compose in the manner of Palestrina or Bach.
It teaches you how to think in simultaneous independent and highly correlative lines of musical thought. More than anything, it's a form of musical/mental calisthenics, very useful regardless of your style.
Best regards,
dp
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- KVRist
- 102 posts since 3 Sep, 2021
This is why I like the Piston book on Counterpoint - he takes a wider view, and quotes examples from the Baroque, Classical and Romantic periods.StudioDave wrote: ↑Thu Mar 24, 2022 11:14 am
Counterpoint doesn't necessarily teach a period style, nor is it at all about how to compose in the manner of Palestrina or Bach.
It teaches you how to think in simultaneous independent and highly correlative lines of musical thought. More than anything, it's a form of musical/mental calisthenics, very useful regardless of your style.
Best regards,
dp
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
"If renaissance-style [...] only then the answer is yes."
That's like saying taking a part-writing course is useless unless the entire goal is to write that music. Also like saying, 'I'm not going to be writing scales, but "modern melody"'. So knowing scales is useless.'
In other words, that's a stupid, not to mention arrogant reply.
By the time Species was available to me I'd had two years (in two schools, they don't let you test out in conservatory) of chromatic part-writing (the first time concurrent with diatonic), and the principles from Gradus are pretty well embedded in that methodology. As my next step, Species was a no, seemed too redundant.
That said, day after day of intensive part-writing did not make me style-bound, I didn't end up writing like Bach or Wagner, or suggest any aesthetic. It lent me freedom.
That's like saying taking a part-writing course is useless unless the entire goal is to write that music. Also like saying, 'I'm not going to be writing scales, but "modern melody"'. So knowing scales is useless.'
In other words, that's a stupid, not to mention arrogant reply.
By the time Species was available to me I'd had two years (in two schools, they don't let you test out in conservatory) of chromatic part-writing (the first time concurrent with diatonic), and the principles from Gradus are pretty well embedded in that methodology. As my next step, Species was a no, seemed too redundant.
That said, day after day of intensive part-writing did not make me style-bound, I didn't end up writing like Bach or Wagner, or suggest any aesthetic. It lent me freedom.
Last edited by jancivil on Sun Apr 03, 2022 8:17 am, edited 1 time in total.
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- Banned
- 995 posts since 4 Feb, 2021
Fux, Jeppesen (Palestrina) + a crazy Afro-American percussion teacher + synth bass obsession = musical clusterfck. But I enjoy making it so much. Wouldn’t have skipped any class or any exercise for the world:
Sometimes I restrict myself to styles and rules, other times breaking them systematically. E.g., it has been mandatory to composers like Mozart, Bach and Haydn to screw Fux from behind with regard to the parallel fifths and octaves (first rule) as soon as they got through Gradus. Who am I not to follow their lead? Style is a choice, not a restriction.
Tribe Of Hǫfuð https://soundcloud.com/user-228690154 "First rule: From one perfect consonance to another perfect consonance one must proceed in contrary or oblique motion." Johann Joseph Fux 1725.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Once I was writing something, very consciously 4-part counterpoint and I did a cadence that *is* JS Bach; the logic was inescapable, and it sounded good so I didn't entertain any ideological notion against it. Someone characterized it as 'neo-baroque', which is fair but I didn't start out thinking anything of the sort, I just had melodic ideas that seemed like the best clothes for it was counter-melody. (it starts off like something else entirely, the second part is at 1:04.5.) I did it first as 4 electric bass parts, if only because the instrument was so easy to work with (the original OTS product, Cherry Bass. Which I miss.) because its scripting is so apt for just playing the thing, nothing cute by controllers or KS.
https://youtu.be/NJ8kk6MxiW4
last year a very "classical piano" thing came pouring out without any such intent, but I chose to run with it. My plans always go awry anyway.
I barely cracked a book in school, theory class had no textbook and I did little else as far as classes go. So I got nothin' here.
https://youtu.be/NJ8kk6MxiW4
last year a very "classical piano" thing came pouring out without any such intent, but I chose to run with it. My plans always go awry anyway.
I barely cracked a book in school, theory class had no textbook and I did little else as far as classes go. So I got nothin' here.
