Counterpoint and Harmonization

I was researching counterpoint for some time now, however I couldn't really find what interests me.

If you have a piece with a counterpoint in a modern instrumentation setup, with lets say guitar and a keyboard, do you need to harmonize the passage that would be like a solo act of guitar and keyboard.

I mean, I know you could do it, but is it a common practice and more importantly should you do it?

And also, what does the bass do in those situations? I heard some players playing a walking bass line under a guitar/keyboard counterpoint and it really sounds like a lot of things happening at once, and seems hard to follow.

Doesn't it just depend on the effect you're trying to get? If you're trying to make something a little more catchy, then you probably don't want too many things to be happening. If you want to show off, than you probably want to let the soloist to be alone and have some of the freedom of no harmony. If you want it to sounds better, and the solo is too simple, add harmony for more interest. That's also what the counterpoint should do, add interest and make it sound good. If you want something to sounds freaking awesome just due to effect, have a lot of things happening at once, make your audience think about what's happening. But that's not necessarily what people want, so it does depend on your audience too.

What part of counterpoint were you studying? When to use it and when not to? Also, what era of counterpoint, because the rules different depending on what time period.

So find out your audience, and tell us who that is, then we can be of more use.

In response to the question "should you do it?", really just do what sounds cool. If it sounds awesome, then yes, you should do it! If it doesn't, either fix it till it does, or just drop it and leave it alone.

Well, I'm interested in all eras of counterpoint but my writing is usually aimed for a modern band setup (guitar, keyboard, bass, drums). I'm not really interested in specific rules concerning a given time period, I'm more interested in modern view on counterpoint. I am trying to connect some signature sounds of classical era with modern jazz-rock music. And I really like how counterpoint alone creates the effect of classical sound (for me at least).

Yeah in modern times, especially in a "rock" setting, no one gives a damn if you use counterpoint or you don't. Actually, as long as it sounds good, people will like it regardless of what technique you use.

What you need to figure out is if YOU give a damn if you use counterpoint or not - if you're going for a "classical" sound (I'm assuming you're grouping baroque, classical, and romantic - and even some modern and post-modern stuff - into one heading called "classical"), then counterpoint is certainly an option, but then again, so is a harpsichord.

There's also plenty of examples of contrapuntal writings that don't sound "classical" at all. As Dev said, no one is going to give a damn whether you use counterpoint or not. Most people who listen primarily rock music and don't have much of a formal music education probably don't really understand what counterpoint is anyway (I don't mean that in a snobby, elitist way... just a simple stating of my observations). The only thing that matters is whether or not you care. Don't worry so much about the impressions other people will have.

While I appreciate your response guys, I still don't have an answer to my initial question :D

So you're using the term "Counterpoint" as simply two independent, but related lines?

Yeah, sure. Happens in rock all the time. Overlaying riffs creating polyrhythms is a sort of counterpoint -- look at any funk, or the Yes album Fragile, which has some clear casses of "classical" influence.

Who are you into? That way it'd be easier to show examples...

Well, I'm mainly into cine-soundtracks, rock, jazz etc. I'm more interested in creating two melodic lines, not riffs and a solo like you mentioned.

Well, I'll send you to my old band. Check out Teacake -- each line in the A section is relatively independent.

Your mention of walking bass is kind of interesting, because it's essentially an accompaniment role, while being an independent line. But I wouldn't call it direct counterpoint, since it lines up with the drums.

What I would focus on isn't a classical sense of counterpoint, but a concept of layering. Check out some post-rock or math-rock (it's more or less the same thing, just different marketing), it has a lot of the same ethos you're looking for.

Well, I'll send you to my old band. Check out Teacake -- each line in the A section is relatively independent.

Your mention of walking bass is kind of interesting, because it's essentially an accompaniment role, while being an independent line. But I wouldn't call it direct counterpoint, since it lines up with the drums.

What I would focus on isn't a classical sense of counterpoint, but a concept of layering. Check out some post-rock or math-rock (it's more or less the same thing, just different marketing), it has a lot of the same ethos you're looking for.

Thanks mate. I will check out some of those.

But the link you provided is not working... I mean it's working but its just a 3 sec long whistle, there is no song...

oh really... brutal. wonder what happened. well, allegedly it's here:Tchoupchupacabra - ReverbNation, but the recording's all fubar....