Joshua Harton

Awesome, thanks! I happened to read the introduction to Schenker's Counterpoint yesterday and he criticizes Riemann for encouraging students to find the best possible counterpoint for a given line -- so, you must be right about multiple solutions. Everyone I've read seems to agree that learning counterpoint strengthens the way you think about music and, most admit that informed, artistic choices are ultimately the takeaway.

Hi all! It's been a while since I've been on... and I'm returning with a question about Fux's counterpoint from Alfred Mann's The Study of Counterpoint: Are the solutions to each of Aloysius' examples (with corrections) the only acceptable solutions? In attempting to complete the very first exercise (first species counterpoint on the given cantus firmus, in the bottom voice, in dorian mode), I find there are good reasons to rule out most of the consonances that could be considered. However, I don't know if there are hard and fast rules which make the answers that Joseph gives the ONLY possible answers. Anyone have experience with this problem or insights? Thanks!

^^That's hard to believe. I may have to give it a try. My guess, Michael, is that this is a process that few of us master (let alone feel "really solid" about).

Oh. Thanks. Good to know! :D

Well, I am only part way out of college (in between undergrad and grad studies at the moment) but I haven't made that many connections. Maybe I am on my way out of the composition world for this reason. I dunno. For the few connections that I have, I blame genuine interaction on my part and general interest on the part of the contact. Also, in my experience, performers want things to perform and they want composers they can relate to. So, the advice from someone who isn't there yet either... don't be a jerk, don't be shy, and present your work(s) for what it is, art in progress -- ask other artists to participate with you in making something new!

Yeah. Great poems! The way I look at it, set them anyway (for love of the writer and his words), try to get permission, and then, if it's a no-go, put them in a folder somewhere and don't sell them! There's nothing against enjoying what you care about or working on something that might not be published. (I mean, unless you're writing for a living and need to be producing salable pieces.) http://ericwhitacre.com/music-catalog/satb-choral/sleep Or, for another creative option: Eric Whitacre set a Frost piece, didn't get permission, and just found new words for the already written music. The mistake was a bit of an oversight, as told by him, but, not a catastrophe financially. =P

I also have a duplicate account which could use deleting: J.S.Hauntor I also also would like to have privileges of a member as a facebook user. I cannot like things, I couldn't connect for a little while around Thanksgiving, I can't delete compositions I have posted, and other small issues here and there. Would it be possible to make me a "member" while retaining my ability to login via facebook?

I don't know about many current poets, but I enjoy setting poems to music. I would also be interested in writing for new poems, copyright issues notwithstanding.

I'd be up for another competition, so long as I am not taking the place of someone else. =D (So, assuming there are slots, I am interested.)

http://www.youngcomposers.com/music/2708/romantesque/ :D

Treehugger, I expect if someone found you sneaking a composition on to the "verboten" interwebs that they would understand.

That's what I understand.

OK, just so we're clear... the theme posted at midnight will be the agreed upon and FINAL theme?! (That is to say, the back-up will be substituted before then if necessary?)

I am in favor of the first, having started, but I can do whichever. :D

http://www.youngcomposers.com/music/2503/june-competition-quick-sketch/