New Course Coming “Practical Counterpoint” – Input Needed!

The next course for ScoreClub currently in the planning stage is “Practical Counterpoint”.

This course will build on traditionnal counterpoint but will not be stuck in the Renaissance! The traditional rules will be considered but this is a course meant to create usable counterpoint for the contemporary composer in any style and genre.

And as always, it will be about the mastery of skills and techniques.

An outline for the course is nearly ready and I am currently reviewing major texts on the subject to make sure no stones are left unturned.

I would also like to hear from you what it is about counterpoint that you have questions about and/or difficulties with. Please write in the comment section below.

Thank you!


December 1, 2016

4 responses on "New Course Coming "Practical Counterpoint" - Input Needed!"

  1. Profile photo of Paulo

    The biggest problem with counterpoint texts for me is not the rules but the way the authors set out the rules and then break them in their examples leaving me extremely confused, stuck, and constantly reading over the texts to see if I’ve misunderstood the rules. I’m excited to see your take on the subject as you have a knack for explaining concepts clearly.

  2. Profile photo of Nicolaj

    For me it’s all about writing interesting inner lines. Most of the music I find interesting seems (at least at first glance) to be very far removed from simple 4 part writing. To write interesting lines that doesn’t detract from the melody, but yet is more than just long held chord tones. Every time I as a player play a moving line, and yet I hear the chord hasn’t changed, and some of the notes I’m playing are clearly not chord tones, I consider it some sort of counterpoint and wonder how it’s made. Does that make sense? So I guess for starters the use of non chord tones in inner lines. How does having moving, jumping inner lines (which I often see as a player) affect the chord voicing? What’s the process for writing a contrapuntal texture that states the harmony and supports the melody? Does it make sense to work from a traditional 4 part harmony skeleton for example?

  3. Profile photo of David

    Simply put I would like to learn and master concepts and approaches to writing “mutilple single melodic lines” that occur at the same time in a modern orchestral context.. I’m not refering to when one line stops the other line moves kind of thing as to my thoughts that would be more of a counter melody class. I would also like to see how to do this in a fast paced musical example. I think many of us can write an ostinato and then create a melody on top of that all day long but how does one create those exciting weaving “multiple meloding lines” occuring in different voices that seem to be their own independent thing yet togther it all makes sense harmonically and propels the music forward.

  4. Profile photo of Matt

    I second Davids comment. Modern counterpoint that places the emphasis on the horizontal, rather than the vertical. I think that also bleeds over into twentieth-century harmony which is very challenging to learn out of a book. Looking forward to it!

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