Walter Piston's classic study of musical counterpoint.Descripción completa
Deskripsi lengkap
Walter Piston's classic study of musical counterpoint.
Deskripsi lengkap
CounterpointDescripción completa
Full description
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Tonal counterpoint of the 18th century
Study tonal counterpointDescripción completa
Full description
Study tonal counterpointFull description
Descripción: theory of counterpoint
Counterpoint
WorkBook CounterPoint - Kent KennanFull description
Walter Piston - CounterpointDescripción completa
Canon and multple counterpoint
Descripción: una breve lecion de contrapunto,necesitas instalar el programa power tab para ver los valores correctos
WorkBook CounterPoint - Kent KennanDescripción completa
Walter Piston - CounterpointFull description
Descripción: 2015
Let's begin with simple intervals of major and minor 3rds and their inversions.
Fmi7
9
DbMa7
1
4
13
8 8
AbMa7
6 6
2 3
G7
6
4
9 8
D7
2
5 4
3
3
4
6
4
Fmi7
5
6
3
3
Eb7
6 6
Cmi7
8
5
9
Bbmi7
5
2
6 6
3 4
5 3
Bb7
5
5
4
5 2
0 2
EbMa7
6
3
5
6
3
3
2
2
7
GMa7
4 3
4
4
CMa7
6
AbMa7
3
4 5
2 Then we can add notes between the inverted intervals in one of the voices for rhythmic contrast. Some notes are scalar and some are chromatic.
5 From the Bach lute suites, a beautiful II-V-I made from the simplest elements, a descending scale (from the 3rd) in quarter notes and ascending scale (from the root) in half notes.
11 The following two lines are the basis of many of the progressions we often hear in the blues, in church music, and in popular music. You start home, you leave home, you arrive somewhere, then return home. Harmonically, both lines imply a progression starting from I (home) and going to IV by way of the I dominant 7 (V of IV). The return home can be seen as: IV- IVminor in the descending line, and IV- I diminished- I in the ascending one.
136 CMa
C7
F
Fmi
C
G7
C
This line follows the voice leading of chord above progression.
This line follows the chords written above. You might recognize the last four bars of "I Got Rhythm" changes.
148
7
5
5
7
5
8
8
5
6
5
7
9
10
8
10
7
8
9
10
10
7
8
9
10
10
Often the line or the voice leading is says more than the symbol. The symbol comes with lots of baggage. The line is direct.
152
5
9 8
10 7
7
8
6
5
7
8
8
7
This cliche ending cadence is an example of this progression.
156
8
3
3 11 2
8
8
11
3
3
3
3
10 8
8
10
9 9
8
9
8
10
7 6
8 5
8 5
10
13
Here is a progression (home, leaving home,etc...) in minor. Observe the individual voices moving in each of the inversions.
160
9 7
9 7
7 5
7 5
7 5
6 5
7 3
10
9
8
7
6
5
5
5
14 12
14 11
14 10
12 9
12 8
12 7
12 7
10 7
13
12
12
10
10
10
9
10
168
10 7
164
7 3
6 2
5 2
4 0
3 0
2 0
5
5
5
3
3
3
2 4 3
2 0 1
14 Here are a few exercizes to work with through the cycle of fifths. The first is from Bach. The next is from Jimmy Wyble. I have forgotten from where I stole the others.
