ALAN BELKIN COUNTERPOINT PDF

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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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The overall effect is distracting, creating an inappropriate accent. Why did the composer make the specific choices we see in the music?

Counterpoint – Harmony | Alan Belkin Music

Most of the examples, apart from those which are excerpts from longer compositions of mine, are intended for the voice. The pedagogy of counterpoint The pedagogy of counterpoint is often a confused mixture of style and method. This is what this course will explore. Another problem with much analysis is that is concentrates almost entirely on pitch and to a lesser extent, on rhythm. And finally, what makes great pieces as powerfully expressive as they are? Why analysis for composers?

How and why did he decide on these individual differences? One excellent way to do this is to make the new alteration the resolution of a suspension. I say “explicit variety of rhythm” because, even in a line in steady quarter notes, leaps and changes of direction will inevitably imply some rhythmic groupings.

If such pedagogical constraints are presented as global rules, they lead quickly to nonsense. The ear is thus not encouraged in any way to associate these octaves. This also helps bring together the two disciplines. Conversely, richness can be enhanced by: A pdf version of this book is available for download here.

Alan Belkin is creating another online course: Analysis for Composers | Patreon

By rigorously avoiding parallel motion, such counterpoint guarantees that adding such doublings will not create parallel 8ves and 5ths. What were the alternative solutions? Pedagogically, it is more useful to discuss why certain cases are less disturbing than some others.

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It may seem odd to move from a discussion of line directly to one of harmony, while postponing discussion of the ways in which lines interact; however, harmony is best understood as the integration of simultaneous musical lines into a coherent ensemble. Thanks again for your interest and support!

I cohnterpoint a composer and a teacher with many years experience. The parallel octaves in the first example here are extremely prominent: But the composer can’t divide up a work that has not yet been written. While this sort of work may be appropriate for a beginner, it hardly constitutes real preparation for composing a musically convincing fugue, or for other, “real life” applications of counterpoint.

Here we will take a similar approach to counterpoint, treating it as an aspect of composition training and not as an independent academic discipline.

If the listener is to have the impression of related events occuring at the same time, the strands must coalesce into a coherent whole. I plan on starting this new course before the end of January, We will not repeat, in detail, information easily available elsewhere.

In the proposed variant, the dissonant F and its resolution are doubled at the 6th in the middle part, creating a much richer effect, more in tune with the style of the opening bars. Also, we will not propose a detailed method, complete with exercises, although the specifics of such a method are easily derived from our approach, and indeed have been tested in the classroom for years.

Otherwise the altered note would be doubled, creating harshness as well as a weak resolution. However, they are not really very disturbing to the ear, because the notes in question are not accented, not on corresponding beats, and the motives in the two bars do not correspond. Because many analysis courses these days, taught by theorists and musicologists, are not always that useful for a composer.

Alan Belkin Principles of Counterpoint

The main problem with scholastic approaches is that they counterpoinnt substitute rigid rules for flexible general principles, and thus fail to provide guidance in enough varied musical situations to be useful in practice. Please contact me at: Now that the Modern Harmony and the Applied Counterpoint courses are complete, I will be offering a new course: Compare the direct octave into the 1st beat, 2nd bar in the first example, which is rather prominent, since all the parts move in alna 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.

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In the first volume, A Practical Guide to Musical Composition, we discussed counterpoiint of musical form independently of style and conventional “forms”. This is not a textbook: This is an area where the standard species approach alxn pitifully. The composer has to decide all of these things when composing.

In the first example, the similar motion between soprano and bass creates a strong accent on the tritone in bar 2. For those having problems with bbelkin plug-in required to hear the examples, Riccardo Distasi kindly wrote a script adding plain links for each example. Real world uses of counterpoint.

However, certain parallel 5ths and 8ves, although prohibited in conventional species counterpoint, are quite innocuous, even unnoticeable. But at worst, the student is constrained by a hodgepodge of inconsistent rules, and wastes a great deal of time struggling to avoid situations that are musically unobjectionable.

To hear other examples of my music, please visit the worklist page. In most species approaches, the octaves created between the C in the first bar of the above example and the D in the second measure would be prohibited as being rhythmically too aan. All grow out of my own experience as a composer. Leaps are normally made to and from chord tones; when there are several in a row, they are heard as outlining chords. counter;oint