COUNTERPOINT LESSON
COUNTERPOINT PART 1 Hi my name is Moises Olvera, I’m a guitarist from México. Well thanks for read my lesson.. .this time I want to talk about a beautiful composition technique very used in Europe around centuries XVII and XVIII. Called: it was a technique employed by composers as , , and many of their contemporaries. Exist many forms of contrapuntal structures and we would need an entire textbook to cover all but this time we will to simplify things and study just a little part about it, counterpoint is the the art of of combine combine simultaneou simultaneously sly two two or or more more different different melodies, melodies, this lesson lesson will will try only a form of of counterpoint counterpoint called instrumental counterpoint free style of two two parts,
The basic idea of counterpoint is first; the development of an idea or theme, then the realization of its contrapuntal melody, and the final presentation of the two melodies together... fig. 1 is an example of J.S.BACH from a composition called partita bwv 830 in e minor here you can see how in the acoustic acoustic guitar really occurs occurs two melodies melodies one in the upper voice and the another in the lower
this is a style of counterpoint very complicated,but well woth the effort,.and its just a fragment of the entira piece that is exeptonal. You can listen to a lot of counterpont in the music of JOHANN SEBASTIAN BACH,by example, in the partitas for klavier bwv 825-bwv 830,and in i n numerous others pieces. Counterpoint Counterpoint of “ FREE STYLE” We will note some some of the characteristics of this this type of counterpoint: A) The harmony can be consonant or dissonant........ B) The melodic secessions are entirely free adapting to every instrument possibilities... C) The beginnings and endings can be made at composers own tastes, D) Either rhythmic combination can be used... E) Can be used intervals intervals as octaves, octaves, fifths thirds, thirds, sixths, sixths, and the dissonant dissonant intervals intervals as well the chromatics too but moderately F) the choice of the tones for modulation m odulation can be made more freely.
Ok the follo followin wing g is my little little compo composit sition ion on count counterp erpoin ointt free style, style, it has tw two o guitar guitarist istss in a harmon harmonic ic mino minorr tonalit tonality.. y...gu .guita itarr one plays plays a melody melody in eights eights and fourths, while guitar 2 plays a part in 32ths .. On meas measur uree 3 we play play a d min minor or arpeg arpeggio gio an and d an a min minor or arpeg arpeggio gio against against a melody with a F note and an A note as tonal centers.. .then the two guitars equals the note value on measure four, on measures 5 trough 12 guita itar 1 pla play ys th the same melody lody two ti times while ile guita itar 2 fi first play lays a me melod lody complementing first part and then plays ostinatos ostinatos in 32ths On measures 9-10-and 11.....measures 13 trough 16 guitar 1 plays arpeggios in 32ths while guitar 2 plays slower note groups and ends in 32ths,,,, the the follo following wing measur measures es the guitar guitar 1 plays plays legato legato arpegg arpeggios ios and guitar guitar 2 plays plays a melody in 8ths.... for the last part we use silences and make some kind of imitative counterpoint guitar 1 plays a melody melody while guitar guitar 2 repeats repeats just a fragment fragment of the same melody but a perfect perfect fourth fourth above above the the origina originall in this this part part the melo melody dy on guitar guitar 1 calls calls the antecedent and the melody on guitar 2 calls the subsequent, the two melodies played together together forms at certain certain points points cacophonies cacophonies very strange strange but it sounds sounds interesting interesting as in the last part which the subseq subsequen uentt starts starts a second second behind behind the original original antece anteceden dentt melody(inverting this makes a maj7) maj 7) and this sounds some kind of dissonant but still nice this type of counterpoint calls imitative counterpoint listen and see the scores for appreciate the indications, well this was our lesson i hope have been as clear as possible, possible, just think of counterpo counterpoint int as two melodies melodies combining combining together together to form a more complex and unique melody...eith melody...either er comment or question please don’t hesitate hesitate to write write me at
[email protected] thanks thanks for read my lesson.
COUNTERPOINT PART 1 An Etude of Counterpoint Level: Advanced
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Written by Moises Olvera Ambriz
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Moises is a guitarist from México, he has ha s played guitar for 19 years and actually keeps studying harmony and counterpoint. He has attended guitar clinics in México with guitarists guitari sts as: and On July 2004 he participated with his band in the” . Performing Performing “far beyond beyond the sun” sun” nd “you don’t remember ill never forget” to a crazy crowd in México City. Actually his band
record a six song instrumental demo called which contains instrumental metal music inspired by Mayan
Mythology. The future plans is composing material for his new record, (by end end of 2005) favorite players are: , among a lot more, if you want info please please write to :
[email protected]
