Remember my whole “Summer ad Parnassum” blog series from a few years ago? Sure you do. Well, I’m at it again in a limited series. I’m teaching counterpoint again and this year, instead of the Fux, I’m using the Salzer and Schachter book Counterpoint in Composition. I love this book for many reasons and I’ve adopted it as a textbook because of its analysis component. Half of my course is species counterpoint and half is analysis. With this book I feel like I’ll be better at bridging the gap of how counterpoint informs analysis.
The text also works with 2 and 3 voices within each species chapter and, well, to share the family secret*, I’ve never exactly done 3 voice species work. Believe me, it is hard for me to come clean with this. I know it is the most shocking thing that has happened on the internet, at least from a species counterpoint perspective.
To amend this ghastly whole in my contrapuntal soul, I’m going to work through 3 voice species exercises and critique them on the blog. I’m still getting used to some of the guidelines and considerations so expect these first few to be rough around the edges. The counterpoint shall be swift. The counterpoint shall be painful. And I shall show no mercy in all my counterpointing.**
*if you just said “My grandmother was Dutch” then I fear we are on the same wavelength.
**if you got that reference, we are definitely on the same wavelength.