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In music, counterpoint is the relationship between two or more Register (music) that are independent in contour and rhythm, and interdependent in harmony. It has most commonly been identified in Western music, developing strongly in the renaissance music, and also dominant in much of the common practice period, especially in Baroque music. The term comes from the Latin punctum contra punctum ("note against note"). The adjectival form contrapuntal shows this Latin source more transparently.

General principles In all eras, writing of music organized contrapuntally has been subject to rules, sometimes strict. By definition, Chord (music) occur when multiple notes sound simultaneously; however, chordal, harmonic, "vertical (music)" features are considered secondary and almost incidental when counterpoint is the predominant textural element. Counterpoint focuses on melodic interaction rather than harmonic effects generated when melodic strands sound together. In the words of John Rahn: "It is hard to write a beautiful song. It is harder to write several individually beautiful songs that, when sung simultaneously, sound as a more beautiful polyphonic whole. The internal structures that create each of the voices separately must contribute to the emergent structure of the polyphony, which in turn must reinforce and comment on the structures of the individual voices. The way that is accomplished in detail is...'counterpoint'." Rahn, John (2000). Music Inside Out: Going Too Far in Musical Essays, p. 177. ISBN 90-5701-332-0.

The separation of harmony and counterpoint is not absolute. It is impossible to write simultaneous lines without producing harmony, and impossible to write harmony without linear activity. The composer who chooses to ignore one aspect in favour of the other still must face the fact that the listener cannot simply turn off harmonic or linear hearing at will; thus the composer risks creating annoying distractions unintendedly. Johann Sebastian Bach's counterpoint—often considered the most profound synthesis of the two dimensions ever achieved—is extremely rich harmonically and always clearly directed tonally, while the individual lines remain fascinating.

Development Counterpoint was elaborated extensively in the Renaissance music period, but composers of the Baroque music period brought counterpoint to a kind of culmination, and it may be said that, broadly speaking, harmony then took over as the predominant organizing principle in musical composition. The Baroque composer Johann Sebastian Bach wrote most of his music incorporating counterpoint, and explicitly and systematically explored the full range of contrapuntal possibilities in such works as The Art of Fugue.

Given the way terminology in music history has evolved, such music created from the Baroque music period on is described as contrapuntal, while music from before Baroque times is called polyphony. Hence, the earlier composer Josquin des Prez is said to have written polyphonic music.

Homophony, by contrast with polyphony, features music in which chord (music) or vertical interval (music) work with a single melody without much consideration of the melodic character of the added accompanying elements, or of their melodic interactions with the melody they accompany. As suggested above, most popular music written today is predominantly homophonic, its composition governed mainly by considerations of chord and harmony; but, while general tendencies can often be fairly strong one way or another, rather than describing a musical work in absolute terms as either polyphonic or homophonic, it is a question of degree.

The form or compositional genre known as fugue is perhaps the most complex contrapuntal convention. Other examples include the round (music) (familiar in folk traditions) and the Canon (music).

In musical composition, contrapuntal techniques are important for enabling composers to generate musical ironies that serve not only to intrigue listeners into listening more intently to the spinning out of complexities found within the Texture (music) of a polyphonic composition, but also to draw them all the more into hearing the working out of these figures and interactions of musical dialogue. A melodic fragment, heard alone, makes a particular impression; but when the fragment is heard simultaneously with other melodic ideas, or combined in unexpected ways with itself (as in a canon or fugue), greater depths of affective meaning are revealed. Through Musical development of a musical idea, the fragments undergo a working out into something musically greater than sum of the parts, something conceptually more profound than a single pleasing melody.

Excellent examples of counterpoint in jazz include Gerry Mulligan's Young Blood, Bill Holman's Invention for Guitar and Trumpet and his Theme and Variations, as well as recordings by Stan Getz, Bob Brookmeyer, Johnny Richards, and Jimmy Giuffre. Corozine, Vince (2002). Arranging Music for the Real World: Classical and Commercial Aspects, p. 34. ISBN 0-7866-4961-5.

Species counterpoint Species counterpoint is a type of so-called strict counterpoint, developed as a pedagogical tool, in which a student progresses through several "species" of increasing complexity, always working a very plain given part in the cantus firmus (Latin for "fixed melody"). The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the rules at the given time.Jeppeson, Knud. Counterpoint: the polyphonic vocal style of the sixteenth century, English translation 1939, reprint by Dover, NY, 1992. ISBN 0-486-27036-X. The idea is at least as old as 1532, when Giovanni Lanfranco described a similar concept in his Scintille di musica. The late 16th century Venetian school theorist Gioseffe Zarlino elaborated on the idea in his influential Le institutioni harmoniche, and it was first presented in a codified form in 1619 by Lodovico Zacconi in his Prattica di musica. Zacconi, unlike later theorists, included a few extra contrapuntal techniques as species, for example Inversion (music).

By far the most famous pedagogue to use the term, and the one who made it famous, was Johann Fux. In 1725 he published Gradus ad Parnassum (Steps to Parnassus), a work intended to help teach students how to compose, using counterpoint—specifically, the contrapuntal style as practised by Giovanni Pierluigi da Palestrina in the late 16th century—as the principal technique. As the basis for his simplified and often over-restrictive codification of Palestrina's practice (see General notes, below), Fux described five species:

  • Note against note;
  • Two notes against one;
  • Four (extended by others to include three, or six, etc.) notes against one;
  • Notes offset against each other (as Nonchord tone);
  • All the first four species together, as "florid" counterpoint.


    • A succession of later theorists imitated Fux's seminal work quite closely, but often with some small and idiosyncratic modifications in the rules. A good example is Luigi Cherubini.Cherubini, Luigi, Cours de contrepoint et de fugue, Paris, 1835

    Considerations for all species Students of species counterpoint usually practice writing counterpoint in all the musical mode except Locrian mode (Ionian mode, Dorian mode, Phrygian mode, Lydian mode, Mixolydian mode and Aeolian mode). The following rules apply to melodic writing in each species, for each part:

  • The final must be approached by Steps and skips. If the final is approached from below, the leading tone must be raised, except in the case of the Phrygian mode. Thus, in the Dorian mode on D, a C# is necessary at the cadence.
  • Permitted melodic intervals are the perfect fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. When the ascending minor sixth is used it must be immediately followed by motion downwards.
  • If writing two Steps and skips in the same direction—something which must be done only rarely—the second must be smaller than the first, and the interval between the first and the third note may not be dissonant.
  • If writing a skip in one direction, it is best to proceed after the skip with motion in the other direction.
  • The interval of a tritone in three notes is to be avoided (for example, an ascending melodic motion F - A - B natural), as is the interval of a seventh in three notes.


    • And, in all species, the following rules apply concerning the combination of the parts:

  • The counterpoint must begin and end on a perfect Consonance and dissonance.
  • Contrary motion should predominate.
  • Perfect consonances must be approached by oblique or contrary motion
  • Imperfect consonances may be approached by any type of motion
  • The interval of a tenth should not be exceeded between two adjacent parts, unless by necessity.
  • Build from the bass, upward.


    • Finally, in species counterpoint it is important to remember that the interval of the perfect fourth is usually considered a dissonance.

    First species In first species counterpoint, each note in every added part (parts being also referred to as lines or voices) sounds against one note in the cantus firmus. Notes in all parts are sounded simultaneously, and move against each other simultaneously. The species is said to be expanded if any of the added notes are broken up (simply repeated).

    In the present context, a "step" is a melodic interval of a half or whole step. A "skip" is an interval of a third or fourth. (See Steps and skips.) An interval of a fifth or larger is referred to as a "leap".

    A few further rules given by Fux, by study of the Palestrina style, and usually given in the works of later counterpoint pedagogues, are as follows. Some are vague, and since good judgement and taste have been regarded by contrapuntists as more important than strict observance of mechanical rules, there are many more cautions than prohibitions. But some are closer to being mandatory, and are accepted by most authorities.

  • Begin and end on either the unison, octave, or fifth, unless the added part is underneath, in which case begin and end only on unison or octave.
  • Use no unisons except at the beginning or end.
  • Avoid Consecutive fifths between any two parts; and avoid Consecutive fifths#Hidden consecutives: that is, movement by Contrary motion to a perfect fifth or octave, unless one part (sometimes restricted to the higher of the parts) moves by step.
  • Avoid moving in parallel fourths. (In practice Palestrina and others frequently allowed themselves such progressions, especially if they do not involve the lowest of the parts.)
  • Avoid moving in parallel thirds or sixths for very long.
  • Attempt to keep any two adjacent parts within a tenth of each other, unless an exceptionally pleasing line can be written by moving outside of that range.
  • Avoid having any two parts move in the same direction by skip.
  • Attempt to have as much contrary motion as possible.
  • Avoid dissonant intervals between any two parts: major or minor 2nd, major or minor 7th, any augmented or diminished interval, and perfect fourth (in many contexts).


    • In the following example in two parts, the cantus firmus is the lower part. (The same cantus firmus is used for later examples also. Each is in the Dorian mode.)

    Second species In second species counterpoint, two notes in each of the added parts work against each longer note in the given part. The species is said to be expanded if one of these two shorter notes differs in length from the other.

    Additional considerations in second species counterpoint are as follows, and are in addition to the considerations for first species:
  • It is permissible to begin on an upbeat, leaving a half-rest in the added voice.
  • The accented beat must have only consonance (perfect or imperfect). The unaccented beat may have dissonance, but only as a passing tone, i.e. it must be approached and left by step in the same direction.
  • Avoid the interval of the unison except at the beginning or end of the example, except that it may occur on the unaccented portion of the bar.
  • Use caution with successive accented perfect fifths or octaves. They must not be used as part of a sequential pattern.


    • Third species In third species counterpoint, four (or three, etc.) notes move against each longer note in the given part. As with second species, it is called expanded if the shorter notes vary in length among themselves.

    Fourth species In fourth species counterpoint, some notes are sustained or suspended in an added part while notes move against them in the given part, often creating a Consonance and dissonance on the beat, followed by the suspended note then changing (and "catching up") to create a subsequent Consonance and dissonance with the note in the given part as it continues to sound. As before, fourth species counterpoint is said to be expanded when the added-part notes vary in length among themselves. The technique requires chains of notes sustained across the boundaries determined by beat, and so creates syncopation.

    Florid counterpoint In fifth species counterpoint, sometimes called florid counterpoint, the other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, and the fourth and fifth bars are third and embellished fourth species.

    General notes It is a common and pedantic misconception that counterpoint is defined by these five species, and therefore anything that does not follow the strict rules of the five species is not "proper" counterpoint. This is not true; although much contrapuntal music of the common practice period adheres to the spirit of the rules, and often to the letter of them, the exceptions are many. Fux's book and its concept of "species" was purely a method of teaching counterpoint, not a definitive or rigidly prescriptive set of rules for it. He arrived at his method of teaching (or so he believed, at least) by examining the works of Giovanni Pierluigi da Palestrina, an important late 16th-century composer who in Fux's time was held in the highest esteem as a contrapuntist. Works in the contrapuntal style of the 16th century—the "prima pratica" or "stile antico," as it was called by later composers—were often said by Fux's contemporaries to be in "Palestrina style." Indeed, Fux's treatise is a compendium of Palestrina's actual techniques, simplified and regularised for pedagogical use (and so permitting fewer liberties than occurred in actual practice).

    Contrapuntal derivations Since the Renaissance music period in European music, much music which is considered contrapuntal has been written in imitative counterpoint. In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia (music), the ricercar, and later, the Canon (music) and fugue (the contrapuntal form par excellence) all feature imitative counterpoint, which also frequently appears in choir works such as motets and madrigal (music). Imitative counterpoint has spawned a number of devices that composers have turned to in order to give their works both mathematical rigor and expressive range. Some of these devices include:











    Dissonant counterpoint Dissonant counterpoint was first theorized by Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint is required to be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step. He wrote that "the effect of this discipline" was "one of purification." Other aspects of music, such as rhythm, could be "dissonated" by applying the same principle (Charles Seeger, "On Dissonant Counterpoint," Modern Music 7, no. 4 (June-July 1930): 25-26).

    Seeger was not the first to employ dissonant counterpoint, but was the first to theorize and promote it. Other composers who have used dissonant counterpoint, if not in the exact manner prescribed by Charles Seeger, include Ruth Crawford-Seeger, Carl Ruggles, Henry Cowell, Henry Brant, Dane Rudhyar, Lou Harrison, Fartein Valen, and Arnold Schoenberg.

    Counterpoint in popular music









    In literature Palestinian-American Post-colonialism critical theory Edward Said, himself a pianist and music critic, wrote extensively about how literature could be contrapuntal.One of Aldous Huxley's well known novels is Point Counter-point.

    See also

    Sources

    External links



    In music, counterpoint is the relationship between two or more Register (music) that are independent in contour and rhythm, and interdependent in harmony. It has most commonly been identified in Western music, developing strongly in the renaissance music, and also dominant in much of the common practice period, especially in Baroque music. The term comes from the Latin punctum contra punctum ("note against note"). The adjectival form contrapuntal shows this Latin source more transparently.

    General principles In all eras, writing of music organized contrapuntally has been subject to rules, sometimes strict. By definition, Chord (music) occur when multiple notes sound simultaneously; however, chordal, harmonic, "vertical (music)" features are considered secondary and almost incidental when counterpoint is the predominant textural element. Counterpoint focuses on melodic interaction rather than harmonic effects generated when melodic strands sound together. In the words of John Rahn: "It is hard to write a beautiful song. It is harder to write several individually beautiful songs that, when sung simultaneously, sound as a more beautiful polyphonic whole. The internal structures that create each of the voices separately must contribute to the emergent structure of the polyphony, which in turn must reinforce and comment on the structures of the individual voices. The way that is accomplished in detail is...'counterpoint'." Rahn, John (2000). Music Inside Out: Going Too Far in Musical Essays, p. 177. ISBN 90-5701-332-0.

    The separation of harmony and counterpoint is not absolute. It is impossible to write simultaneous lines without producing harmony, and impossible to write harmony without linear activity. The composer who chooses to ignore one aspect in favour of the other still must face the fact that the listener cannot simply turn off harmonic or linear hearing at will; thus the composer risks creating annoying distractions unintendedly. Johann Sebastian Bach's counterpoint—often considered the most profound synthesis of the two dimensions ever achieved—is extremely rich harmonically and always clearly directed tonally, while the individual lines remain fascinating.

    Development Counterpoint was elaborated extensively in the Renaissance music period, but composers of the Baroque music period brought counterpoint to a kind of culmination, and it may be said that, broadly speaking, harmony then took over as the predominant organizing principle in musical composition. The Baroque composer Johann Sebastian Bach wrote most of his music incorporating counterpoint, and explicitly and systematically explored the full range of contrapuntal possibilities in such works as The Art of Fugue.

    Given the way terminology in music history has evolved, such music created from the Baroque music period on is described as contrapuntal, while music from before Baroque times is called polyphony. Hence, the earlier composer Josquin des Prez is said to have written polyphonic music.

    Homophony, by contrast with polyphony, features music in which chord (music) or vertical interval (music) work with a single melody without much consideration of the melodic character of the added accompanying elements, or of their melodic interactions with the melody they accompany. As suggested above, most popular music written today is predominantly homophonic, its composition governed mainly by considerations of chord and harmony; but, while general tendencies can often be fairly strong one way or another, rather than describing a musical work in absolute terms as either polyphonic or homophonic, it is a question of degree.

    The form or compositional genre known as fugue is perhaps the most complex contrapuntal convention. Other examples include the round (music) (familiar in folk traditions) and the Canon (music).

    In musical composition, contrapuntal techniques are important for enabling composers to generate musical ironies that serve not only to intrigue listeners into listening more intently to the spinning out of complexities found within the Texture (music) of a polyphonic composition, but also to draw them all the more into hearing the working out of these figures and interactions of musical dialogue. A melodic fragment, heard alone, makes a particular impression; but when the fragment is heard simultaneously with other melodic ideas, or combined in unexpected ways with itself (as in a canon or fugue), greater depths of affective meaning are revealed. Through Musical development of a musical idea, the fragments undergo a working out into something musically greater than sum of the parts, something conceptually more profound than a single pleasing melody.

    Excellent examples of counterpoint in jazz include Gerry Mulligan's Young Blood, Bill Holman's Invention for Guitar and Trumpet and his Theme and Variations, as well as recordings by Stan Getz, Bob Brookmeyer, Johnny Richards, and Jimmy Giuffre. Corozine, Vince (2002). Arranging Music for the Real World: Classical and Commercial Aspects, p. 34. ISBN 0-7866-4961-5.

    Species counterpoint Species counterpoint is a type of so-called strict counterpoint, developed as a pedagogical tool, in which a student progresses through several "species" of increasing complexity, always working a very plain given part in the cantus firmus (Latin for "fixed melody"). The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the rules at the given time.Jeppeson, Knud. Counterpoint: the polyphonic vocal style of the sixteenth century, English translation 1939, reprint by Dover, NY, 1992. ISBN 0-486-27036-X. The idea is at least as old as 1532, when Giovanni Lanfranco described a similar concept in his Scintille di musica. The late 16th century Venetian school theorist Gioseffe Zarlino elaborated on the idea in his influential Le institutioni harmoniche, and it was first presented in a codified form in 1619 by Lodovico Zacconi in his Prattica di musica. Zacconi, unlike later theorists, included a few extra contrapuntal techniques as species, for example Inversion (music).

    By far the most famous pedagogue to use the term, and the one who made it famous, was Johann Fux. In 1725 he published Gradus ad Parnassum (Steps to Parnassus), a work intended to help teach students how to compose, using counterpoint—specifically, the contrapuntal style as practised by Giovanni Pierluigi da Palestrina in the late 16th century—as the principal technique. As the basis for his simplified and often over-restrictive codification of Palestrina's practice (see General notes, below), Fux described five species:

  • Note against note;
  • Two notes against one;
  • Four (extended by others to include three, or six, etc.) notes against one;
  • Notes offset against each other (as Nonchord tone);
  • All the first four species together, as "florid" counterpoint.


    • A succession of later theorists imitated Fux's seminal work quite closely, but often with some small and idiosyncratic modifications in the rules. A good example is Luigi Cherubini.Cherubini, Luigi, Cours de contrepoint et de fugue, Paris, 1835

    Considerations for all species Students of species counterpoint usually practice writing counterpoint in all the musical mode except Locrian mode (Ionian mode, Dorian mode, Phrygian mode, Lydian mode, Mixolydian mode and Aeolian mode). The following rules apply to melodic writing in each species, for each part:

  • The final must be approached by Steps and skips. If the final is approached from below, the leading tone must be raised, except in the case of the Phrygian mode. Thus, in the Dorian mode on D, a C# is necessary at the cadence.
  • Permitted melodic intervals are the perfect fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. When the ascending minor sixth is used it must be immediately followed by motion downwards.
  • If writing two Steps and skips in the same direction—something which must be done only rarely—the second must be smaller than the first, and the interval between the first and the third note may not be dissonant.
  • If writing a skip in one direction, it is best to proceed after the skip with motion in the other direction.
  • The interval of a tritone in three notes is to be avoided (for example, an ascending melodic motion F - A - B natural), as is the interval of a seventh in three notes.


    • And, in all species, the following rules apply concerning the combination of the parts:

  • The counterpoint must begin and end on a perfect Consonance and dissonance.
  • Contrary motion should predominate.
  • Perfect consonances must be approached by oblique or contrary motion
  • Imperfect consonances may be approached by any type of motion
  • The interval of a tenth should not be exceeded between two adjacent parts, unless by necessity.
  • Build from the bass, upward.


    • Finally, in species counterpoint it is important to remember that the interval of the perfect fourth is usually considered a dissonance.

    First species In first species counterpoint, each note in every added part (parts being also referred to as lines or voices) sounds against one note in the cantus firmus. Notes in all parts are sounded simultaneously, and move against each other simultaneously. The species is said to be expanded if any of the added notes are broken up (simply repeated).

    In the present context, a "step" is a melodic interval of a half or whole step. A "skip" is an interval of a third or fourth. (See Steps and skips.) An interval of a fifth or larger is referred to as a "leap".

    A few further rules given by Fux, by study of the Palestrina style, and usually given in the works of later counterpoint pedagogues, are as follows. Some are vague, and since good judgement and taste have been regarded by contrapuntists as more important than strict observance of mechanical rules, there are many more cautions than prohibitions. But some are closer to being mandatory, and are accepted by most authorities.

  • Begin and end on either the unison, octave, or fifth, unless the added part is underneath, in which case begin and end only on unison or octave.
  • Use no unisons except at the beginning or end.
  • Avoid Consecutive fifths between any two parts; and avoid Consecutive fifths#Hidden consecutives: that is, movement by Contrary motion to a perfect fifth or octave, unless one part (sometimes restricted to the higher of the parts) moves by step.
  • Avoid moving in parallel fourths. (In practice Palestrina and others frequently allowed themselves such progressions, especially if they do not involve the lowest of the parts.)
  • Avoid moving in parallel thirds or sixths for very long.
  • Attempt to keep any two adjacent parts within a tenth of each other, unless an exceptionally pleasing line can be written by moving outside of that range.
  • Avoid having any two parts move in the same direction by skip.
  • Attempt to have as much contrary motion as possible.
  • Avoid dissonant intervals between any two parts: major or minor 2nd, major or minor 7th, any augmented or diminished interval, and perfect fourth (in many contexts).


    • In the following example in two parts, the cantus firmus is the lower part. (The same cantus firmus is used for later examples also. Each is in the Dorian mode.)

    Second species In second species counterpoint, two notes in each of the added parts work against each longer note in the given part. The species is said to be expanded if one of these two shorter notes differs in length from the other.

    Additional considerations in second species counterpoint are as follows, and are in addition to the considerations for first species:
  • It is permissible to begin on an upbeat, leaving a half-rest in the added voice.
  • The accented beat must have only consonance (perfect or imperfect). The unaccented beat may have dissonance, but only as a passing tone, i.e. it must be approached and left by step in the same direction.
  • Avoid the interval of the unison except at the beginning or end of the example, except that it may occur on the unaccented portion of the bar.
  • Use caution with successive accented perfect fifths or octaves. They must not be used as part of a sequential pattern.


    • Third species In third species counterpoint, four (or three, etc.) notes move against each longer note in the given part. As with second species, it is called expanded if the shorter notes vary in length among themselves.

    Fourth species In fourth species counterpoint, some notes are sustained or suspended in an added part while notes move against them in the given part, often creating a Consonance and dissonance on the beat, followed by the suspended note then changing (and "catching up") to create a subsequent Consonance and dissonance with the note in the given part as it continues to sound. As before, fourth species counterpoint is said to be expanded when the added-part notes vary in length among themselves. The technique requires chains of notes sustained across the boundaries determined by beat, and so creates syncopation.

    Florid counterpoint In fifth species counterpoint, sometimes called florid counterpoint, the other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, and the fourth and fifth bars are third and embellished fourth species.

    General notes It is a common and pedantic misconception that counterpoint is defined by these five species, and therefore anything that does not follow the strict rules of the five species is not "proper" counterpoint. This is not true; although much contrapuntal music of the common practice period adheres to the spirit of the rules, and often to the letter of them, the exceptions are many. Fux's book and its concept of "species" was purely a method of teaching counterpoint, not a definitive or rigidly prescriptive set of rules for it. He arrived at his method of teaching (or so he believed, at least) by examining the works of Giovanni Pierluigi da Palestrina, an important late 16th-century composer who in Fux's time was held in the highest esteem as a contrapuntist. Works in the contrapuntal style of the 16th century—the "prima pratica" or "stile antico," as it was called by later composers—were often said by Fux's contemporaries to be in "Palestrina style." Indeed, Fux's treatise is a compendium of Palestrina's actual techniques, simplified and regularised for pedagogical use (and so permitting fewer liberties than occurred in actual practice).

    Contrapuntal derivations Since the Renaissance music period in European music, much music which is considered contrapuntal has been written in imitative counterpoint. In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia (music), the ricercar, and later, the Canon (music) and fugue (the contrapuntal form par excellence) all feature imitative counterpoint, which also frequently appears in choir works such as motets and madrigal (music). Imitative counterpoint has spawned a number of devices that composers have turned to in order to give their works both mathematical rigor and expressive range. Some of these devices include:











    Dissonant counterpoint Dissonant counterpoint was first theorized by Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint is required to be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step. He wrote that "the effect of this discipline" was "one of purification." Other aspects of music, such as rhythm, could be "dissonated" by applying the same principle (Charles Seeger, "On Dissonant Counterpoint," Modern Music 7, no. 4 (June-July 1930): 25-26).

    Seeger was not the first to employ dissonant counterpoint, but was the first to theorize and promote it. Other composers who have used dissonant counterpoint, if not in the exact manner prescribed by Charles Seeger, include Ruth Crawford-Seeger, Carl Ruggles, Henry Cowell, Henry Brant, Dane Rudhyar, Lou Harrison, Fartein Valen, and Arnold Schoenberg.

    Counterpoint in popular music









    In literature Palestinian-American Post-colonialism critical theory Edward Said, himself a pianist and music critic, wrote extensively about how literature could be contrapuntal.One of Aldous Huxley's well known novels is Point Counter-point.

    See also

    Sources

    External links



    Counterpoint-online | Homepage
    Launch of Options for Influence; Global campaigns of persuasion in the new worlds of public diplomacy at the RSA, London. On Tuesday 4 March, the British Council launched ...

    Counterpoint - Choral music from medieval to modern
    Choral music from medieval to modern. Includes programmes, reviews, recordings and photographs.

    BBC Radio 4 - Comedy - Counterpoint
    The perennially popular music quiz ... You can contact Counterpoint by writing to 'Counterpoint', Room 2121, BBC Manchester, Oxford Road, Manchester, M60 1SJ.

    Counterpoint - Wikipedia, the free encyclopedia
    In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm, and interdependent in harmony.

    Counterpoint Arts
    Organises concerts, recitals, opera evenings and masterclasses. Dates, information and tickets available. [May not work in all browsers]

    CounterPoint Records =-
    Drawbar - Leave That Ol' Devil Alone/ Broken & Battered Released: 30 Jun 2008

    Five Artists and Counterpoint
    images of shoes in limited editions ... Counterpoint was an exhibition of drawings, paintings, prints, paperwork, stained glass, sculpture and textiles at the Saïd Business School ...

    Counterpoint Music
    Sheet music shop offering syllabus material, repertoire pieces and study books, as well as a range of classical CD-ROMs. Online catalogue and store.

    COUNTERPOINT RESEARCH
    Counterpoint Research - In Research nothing can be taken for granted...At Counterpoint, we pride ourselves on our track record...

    SchenkerGUIDE: Counterpoint
    Start page for Schenker's theory of counterpoint ... Introduction Like his theory of harmony, which adapts and draws together a number of older ideas, Schenker's Counterpoint ...

     

    Counterpoint



     
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