- Counterpoint Tutorials -
The Contrapuntal Skeleton - An Introduction
The kind of counterpoint we're learning is derived from the writings of a certain Johann Fux, an 18th century music theory teacher who became famous for writing the Gradus ad Parnassum, a famous musical counterpoint textbook. In this book, Fux wrote (among other things) a set of five lessons, each teaching a particular aspect of counterpoint. These lessons were called Species. By following each of these lessons, a student can write a reasonably convincing facsimile of two-part Renaissance counterpoint.
Following these lessons isn't unlike constructing a building. First, the foundation is put down. This would be analogous to first species counterpoint, where the harmonic foundation is laid. Then supporting struts, then the walls, roof, and utilities. This is like second, third, and fourth species counterpoint, where more complex constructs give the music (or the building) shape and form. Finally, the carpeting, paint, and wallpaper are brought in to decorate the house. This final step is like fifth species counterpoint, where all embellishments are allowable, and the most decorative of dissonances are permitted. The reverse is also true - underneath any beautiful structure, or beautiful piece, is a strong sturdy foundation.
In this lesson, The Contrapuntal Skeleton, we're going to take a piece of music and tear it down to it's foundation, examining all the supporting structures and musical patterns inside.
The piece we're dissecting today is a movement from one of Georg Philipp Telemann's Canon Sonata for Two Violins.
Following these lessons isn't unlike constructing a building. First, the foundation is put down. This would be analogous to first species counterpoint, where the harmonic foundation is laid. Then supporting struts, then the walls, roof, and utilities. This is like second, third, and fourth species counterpoint, where more complex constructs give the music (or the building) shape and form. Finally, the carpeting, paint, and wallpaper are brought in to decorate the house. This final step is like fifth species counterpoint, where all embellishments are allowable, and the most decorative of dissonances are permitted. The reverse is also true - underneath any beautiful structure, or beautiful piece, is a strong sturdy foundation.
In this lesson, The Contrapuntal Skeleton, we're going to take a piece of music and tear it down to it's foundation, examining all the supporting structures and musical patterns inside.
The piece we're dissecting today is a movement from one of Georg Philipp Telemann's Canon Sonata for Two Violins.
