Counterpoint

alright, well I have me the books and I understand the traditional rules. But may I ask, how do you implement counterpoint into your pieces? Tips? Techniques? Methods? I know its all general, but just tell me what you have done in the past.

Okay... This is very complicated so pay very close attention....

When I have a line that goes up.....

....the other one goes down.

heh that works

oh btw I like you're quote there. I love zappa.

When you write for two lines, keep careful tabs on how the voices are moving - parallel, contrary, similar, or oblique. Parallel tends to sound like one voice and harmony if you use it for more than a progression or two. Contrary can be quite useful, as can similar. Oblique applies heavily to non-homorhythmic counterpoint, and is hardly ever intended. Thus, based on the feel you want, pick the kind of movement that will go best with your subject and countermotives.

Heh, people are probably going to be jumping all over me... I might have made a few assumptions there, I'm just beginning to study counterpoint myself. I don't really apply it in my pieces consciously, my voice-leading is done more by intuition.

Heh, people are probably going to be jumping all over me... I might have made a few assumptions there, I'm just beginning to study counterpoint myself.

No, why? You said it - conscienciousness is important but if you can make it sound musical (in situ) and it's playable or singable, that's it. Writing traditional polyphony for voices is more difficult than a modern work for a string ensemble. I still think the best/easiest way is to learn species counterpoint...which does not stop you rewriting some of the guidelines or working intuitively as you prefer.

M

As to the original post, experience will tell you when a contrapuntal passage is right...it needn't be a whole movement or motet, sometimes just a few bars of imitative coiunterpoint is enough.