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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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This is especially flagrant when they leap.

Particularly with accented dissonances, the underlying harmony can easily be obscured. Here the top parts arrive at a consonance suggesting a D minor chord, and the bottom parts, in their turn, suggest a first inversion C major chord. Here, our aim will be to explain contrapuntal principles so as be,kin provide the most general applications possible.

Principles of Counterpoint

We will not repeat, in detail, information easily available elsewhere. So we will not spend much time discussing the “standard” musical forms, but we will discuss why the composer chooses to organize the material cuonterpoint a particular way for maximum expressive impact.

How and why did he decide on these individual differences? 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.

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

Most of the examples, apart from those which are excerpts from longer compositions of mine, are gelkin for the voice. There is always one line introducing each alteration.

Counterpoint | Alan Belkin Music

This largely results from harmonic and rhythmic coordination. Real world uses of counterpoint. But bdlkin accented first beat octaves are still very salient. And finally, what makes great pieces as powerfully expressive as they are?


In the second example, this accent is somewhat weakened by the contrary motion of the bass. 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. The pedagogy of counterpoint The pedagogy of counterpoint is often a confused mixture of style and method.

Human hearing, it seems, does not require much encouragement to seek out such connections. The main advantages to the species approach, especially for beginners, are: Conversely, richness can be enhanced by: No matter how independent the lines in question, we always hear a whole — although with some perception of foreground and background — and not simply independent sounds.

Unless otherwise indicated, all the musical examples are my own, and are covered by copyright.

Otherwise the altered note would be doubled, creating harshness as well as a weak resolution. For example, it is one thing countrpoint know the historical characteristics of ternary form, but it is quite another to know when to use it. But this kind of knowledge can only come from asking these questions.

Legal proof of copyright exists. 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. 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.

Recent posts by Alan Belkin. Most approaches limit themselves more or less closely to one style, and make some attempt at graduated exercises, often derived from the species method of Fux.

Such exercises are challenging, and should be part of every beelkin of contrapuntal study. Beethoven wrote dozens of pieces in sonata form, but what makes them all different from each other? 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.


If the various lines regularly meet at metrical points of reference, gelkin is hard to impute to them complete independence. 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.

I am looking for a volunteer to translate this book helkin German.

Counterpoint – Harmony | Alan Belkin Music

Put another way, music, no matter how dense, is understood by one brain at a time. For those having problems with the plug-in required to hear the examples, Riccardo Distasi kindly wrote a script adding plain links for each example.

Alqn parallel 5ths and 8ves. Another problem with much analysis is that is concentrates almost entirely on pitch and to a lesser extent, on rhythm. In the first volume, Belkon Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional “forms”.

As a composer, I want to know these things, since they help me with my own composition: I offer private lessons in these subjects via Skype.

Alan Belkin Principles of Counterpoint

Leaps are normally made to and from chord tones; when there are several in a row, they are heard as outlining chords. This also helps bring together the two disciplines. Nor can one hear them out of their harmonic context, at least as long as they are being played together.