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"Il Contrappunto Barocco, il primo libro" di BSG (2018) (attempted textbook)


Uploaded on Jun 16, 2018

I decided that MuseScore needed this. Too often I have to say, "I wish you would learn something about basic counterpoint". Well, this is a start -- let's see what reaction is. I'm not a real music professor - I just play one on MuseScore -- but if you like my work, this is what I believe and practice.

DO NOT use these instructions to operate on your pets and siblings! I am not responsible for what happens to you or them! Or if your neighbors come after you and your piano with pitchforks (pitch pipes? tuning forks?) and torches....

Book 2 is now at https://musescore.com/user/1831606/scores/5146471 .

tutorial Counterpoint primer

Pages 17
Duration 09:02
Measures 129
Key signature natural
Parts 4
Part names Violin, Other Woodwinds, Cello, Contrabass
Privacy Everyone can see this score
License None (All rights reserved)
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How would you suggest one go about studying this
I just saw this -- the wonderful site failed to inform me when you first posted it -- let me get back to you
I have not forgotten you, but the new absence of personal email on "this wonderful site" is making it more difficult.
No, Counterpoint is not something you put here and there, but a relationship between every note of a composition and every note about it. It's not optional, and is there with or without your help, and can either be good or bad, creative or boring, etc.
It resembles physics or math in that respect.
Noob question: What makes an interval perfect? (I'm trying to figure out why someone decided to call a perfect fourth "perfect" despite the fact that it is dissonant.)
"Perfect" is only applicable to unisons, fourths, fifths, octaves and their compounds. There are no "perfect thirds", "sevenths", etc. A "perfect unison" is two of the same exact note; "perfect octave" the same, but an octave higher. A perfect fifth (equal-tempered) is eight semitones (including endpoints e.g., C C# D D# E F F# G) and a perfect fourth six (e.g., C C# D D# E F). In non-equal temperament, a perfect fifth is a frequency ratio of 3/2, a fourth 4/3. As to the conflict with being dissonant, "well, historically, that's what we call it" :) Actually, in earlier times (remember, this is Baroque counterpoint), it wasn't considered dissonant.
Thank you! Interesting that in earlier times it wasn't considered dissonant....
PS I found this plugin & thought it was worth sharing here: https://musescore.org/en/project/check-fux-counterpoint
1st species only won't get you far, and what I teach (and what Bach does) varies from Fux a bit. Writing and debugging MuseScore extension code is WAY TOO HARD, or I would have done better years ago.
Many thanks to @TheMentalHandle for finding many typos and unclear sentences in all volumes...
Thank you so much. This is so useful for me as a student composer. Thanks.
Wow I'm surprised by the fact that people are uploading books now
I'm not "uploading" a book. I'm WRITING a book online.
Great !!! Thank you for sharing this.
Ok, today I went through this and wanted to thank you for these very useful insights and techniques! As I noted, you already have corrected some typo's that were in the original (I printed the first version when this came online). There is however one typo left, on page 14 last paragraph: itroducing --> introducing (not trying to be a troll here, but just want to enhence the quality of this already high standard book).
Fixed; Thanks for your careful reading!
Book 2 is now at https://musescore.com/user/1831606/scores/5146471 .
Thank you so much, I will go through this!
BTW: "" I'm not a real music professor - I just play one on MuseScore"" Well, that's a bit too humble I guess, most academici are but theorists. Was Mozart a professor, was Beethoven, was Schubert? No, but they made practice from music and gave rise to true musical art and new horizons in music...
Thanks so much! Yeah, but Mozart and Schubert didn't put forth theoretical works. As I say, my "proof" is my here-"published" works and other comments. I intend to continue this (I have even more things to say about the subjects I've already (partially) covered); it is a bare beginning. Enjoy --
Yes I understand, but in a way their works are maybe a proof of what they found to be possible in music? Mozart and Beethoven made some annotations in their copies of Fux's Gradus though..., but anyway that's all I know so far about that. Indeed, I look forward to more, and to learn more. I started studying counterpoint last week and these notes will come in as very useful! Keep it up!
Great, I wish that this will end in a "real" book, cause it's very well done!