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Explain counterpoints for me
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Conny
IsraTrance Senior Member
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224
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Posted : Mar 10, 2009 21:41:54
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Anyone who can explain in an easy way different types of counterpoints ?
Lately if noticed a good way is to add a very disharmonic line to another more melodic part. |
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bukboy
Hyperboreans
Started Topics :
40
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Posted : Mar 11, 2009 09:42
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The purpose of counterpoint is to allow you to create multiple melodies that do not create dissonance i.e. clash badly.
To do that you have to ensure that the only distances between your two melodies at a particular moment are:
an octave, (12 notes)
a perfect fifth, (7 notes)
a perfect fourth, ( 5 notes )
a major third, (4 notes)
a minor third. (3 notes)
Now to give you a worst case example.
say you were playing one melody in the key of C major ( diatonic (allowed) notes C,D,E,F,G,A,B )
twinkle twinkle little star. CC GG AA G FF EE DD C (I think thats it.)
Then if you wanted (for any reason) to use the key of F# (F# G# A# B C# D# F) for a second melody, then the following notes would be compatible.
CC GG AA G FF EE DD C
(CC)
G# (major third M3) would be compatible
F (Perfect 4th P4)
(GG)
B (M3)
D#(M3)
(AA)
F# (minor third m3)
C# (M3)
F (M3)
(...)
and so on, so if you made a tune
FG# BD# C#F
it would not clash with the
CC GG AA of twinkle twinkle.
Using this you can do all sorts of cool stuff, like use it as an introduction to modulate the key of the track to something else, or add some dynamism.
Hope this helps a bit.
P.S. I made this all up in my head and cant verify on a keyboard around me, so some of it could be wrong. just trying to demonstrate the principles. |
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TheOneWhoMakesYouCrazy
Started Topics :
6
Posts :
165
Posted : Mar 11, 2009 14:02
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this above is a simple but possible way.But simple.
There are vertical and parallel counterpoints and some more.You can even go by two steps (seconda)in some cases and there are rules which you should learn what "jumps" you shouldnt.Cause than it sound wack or unharmonic.Even though yeah we know  that dissonant notes are needed sometimes.
In order to learn more of this you should really search on google and buy some good books etc. |
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nick
IsraTrance Junior Member
Started Topics :
14
Posts :
60
Posted : Mar 17, 2009 00:02
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Conny
IsraTrance Senior Member
Started Topics :
224
Posts :
149
Posted : Mar 23, 2009 16:48
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Thanx for your replys still need to learn more on this topic.Bukboy so what you want to show is that you can use and extra melodi line to your original melodi ?
So this is the original CC GG AA G FF EE DD C
And the counterpoint is G#G# BB F#F#
Am i right ? Isn´t this the same thing as if the melodi was transposed ?
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bukboy
Hyperboreans
Started Topics :
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Posted : Mar 23, 2009 18:55
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Direct transposition of one line to act as harmony for itself is called organum. And can be pretty interesting...
But counterpoint is not transposition. What the idea is, is to derive "options" that you can base a new melody around, that will each work harmoniously with the current melody.
by the way I wrote
FG# BD# C#F (for)
CC GG AA etc...
Although the formatting gets messed up.
In less extreme cases (like using Gminor and Aminor which have only two notes that differ), than making BITONAL/POLYTONAL counterpoint with two/more radically different scales, you would find that you have a lot more options for melodies that work. My choice of C and F# were only to demonstrate that any scales can work together, although it does take a degree of balancing act.
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