Polyphonic Composition Hints

Do you have any pointers/hints/secrets for how to go about and where to start in trying to polyphonize a one-voiced piece of music you have composed? I prefer intuitively sensible (compositional-instinct-feeding/directed/relevant) information rather than dry theory.

I don't like to artificially follow theory but only my inner musical instict, but still I need to have some hints from a composer. Once, a composer looked at my short one-voice compositions and offered to meet with me to give me some secrets of writing polyphonically. I never met him again and ever since I have been wondering what those hints could have been... In order to write in 2 or more parts, do I need to imagine the piece as 2 or more parts to begin with, or is the process more like imagining a melody and only later adding parts in an artificial way dictated rather by theory than compositional instinct?

Thank you.

Start experimenting with sounds and pitches. You will hear what sounds good and what sounds bad. It's purely likings.

In order to write in 2 or more parts, do I need to imagine the piece as 2 or more parts to begin with, or is the process more like imagining a melody and only later adding parts in an artificial way dictated rather by theory than compositional instinct?

Thank you.

No. Can I presume you mean counterpoint - that is (to keep it brief) where each line/voice stands independent with it's own melodic interest but still harmonises with the other voices?

This can be studied academically but it's fine to create your own polyphony intuitively as long as it sounds pleasing to you. It might take some time to get several voices to sound exactly as you want them but so be it! In fact, the more chromatic you get the less the traditional rules of, say, Palestrina's time can be applied.

By the way, there's nothing wrong in breaking out of the counterpoint for some homophonic passages if you want.

Good luck!

Counterpoint is a learned practice. It involves cleverness or ingeniousness rather than raw inspiration. Studying the theory of it will not detract from your artistic instinct. I think you will find yourself writing it much more cleverly if you have a look at some of the rules and norms for it.

A cliche retold : "You must learn the rules to break them".

I can tell you a very effective easy-way-out though : Learn to use non-harmonic passing notes - there are only about seven types allowed, so not a lot to learn. These include echappees, Suspensions, Anticipation, Pedal Point, Cambiata, Appogiatura, Auxiliary notess and Stepwise passing notes. By repeated listening to examples of all these dissonances, you would come to realize which one creates which effect. Then apply them everywher.