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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Counterpoint – Harmony | Alan Belkin Music

If the counterpoint is not to sound haphazard or rough, the harmony needs to be as rich as possible. Such exercises are challenging, and should be part of every program of contrapuntal study. Bdlkin the first volume, A Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional “forms”.

Preface Introduction The teaching of counterpoint has a long and illustrious history, but its pedagogy is all too often abstracted from musical reality. The 7ths beliin rough, and what follows sounds empty. The pedagogy of counterpoint The pedagogy of counterpoint is often a confused mixture of style and method.

Perhaps more than any other musical discipline, counterpoint has bred ingrown academic traditions whose relevance to musical practice often qlan painfully limited. Why analysis for composers? Most of the examples, apart from those which are excerpts from longer compositions of mine, are intended for the voice. 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.

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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.

Principles of Counterpoint

In short, this book is more about the “why” of counterpoint than the “what”. The main problem with scholastic approaches is that they often substitute rigid rules for flexible general principles, and thus fail to provide guidance in enough varied musical situations to be useful in practice.

As will be seen later, this is the main use for invertible counterpoint at the tenth: 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.

At best, of course, an inspiring teacher can fill in the gaps and make the subject seem relevant. By rigorously avoiding parallel motion, such counterpoint guarantees that adding such doublings will not create parallel 8ves and 5ths. 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.

In the first, the arrival on the major seventh in bar 3 second beat is very harsh since the upper parts move in similar motion. The overall effect is distracting, creating an inappropriate accent.

The material may be used free of charge provided that the author’s name is included. Otherwise the altered note would be doubled, creating harshness as well as a weak resolution.

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Counterpoint | Alan Belkin Music

The ear is thus not encouraged in any way to associate these octaves. The fact that the tied F in the alto progresses by leap suggests that it is a chord tone; the fact that the lower parts do not move to a clear consonance make belikn difficult to consider them as just passing tones.

This is what this course will explore.

This series is dedicated to the memory of my teacher and friend Marvin Duchowone of the rare true scholars, a musician of great depth and sensitivity, and a man of unsurpassed kindness and generosity. We will not repeat, in detail, information easily available elsewhere. Legal proof of copyright exists. All grow out of my own experience as a composer.

Thanks again for your interest and support! Real world uses of counterpoint. This largely results from harmonic and rhythmic coordination. A common fault is to confuse practical rules – say, about the range of a human voice – with pedagogical stages. Then, the last beat of the bar has no 3rd.

Salient parallel 5ths and 8ves. Conversely, richness can be enhanced by: The composer has to decide all of these things when composing. To hear other examples of my music, please visit the worklist page. Alan Belkin, composer alanbelkinmusic gmail.