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Archive for the “Counterpoint” Category

Oct 22 2009

Two of Us

Posted by Christian Carey in Counterpoint, Elliott Carter, File Under?, classical, composer, contemporary classical, creativity

In composition class this week, we looked at the rules for strict species counterpoint in 16th century style. Starting from here and after many exercises, the plan is to create duos for various instruments or voices in a freer, yet still contrapuntal, idiom.

There are so many duos I could share with the class as models; it’s hard to limit the list of suggested repertoire. Here are a few indespensibles I hope they’ll get to study:

Lassus and Morley: duos for voices

Bach: Inventions

Bartok: duos for strings

Wuorinen: Percussion duo

Monteverdi: Zeffiro Torna (I know, there’s continuo too, but it’s wonderful vocal duet writing)

Carter: Hiyoku and Au Quai

Babbitt: Philomel and Davidovsky: Synchronisms (one of the duet partners is a machine!)

Which duos are some of your favorites?

Comments from Facebook:

Michael Haas

Michael Haas

Kodaly, Ernst Toch and Hanns Eisler have both written duos for violin and cello – Erwin Schulhoff too – Toch also wrote duos for violin and viola. But God save us from an entire programme of duos!
50 minutes ago · Delete
Stephen Soderberg

Where were you when I was suffering through undergrad counterpoint??! :-)
25 minutes ago · Delete
Stephen Soderberg

Since you’ve gone over the edge already, Christian, let’s give a slightly broader definition for counterpoint: the CF has to be a line of music, but its CP does not — along with the rule: the two “voices” must be comparatively equal in importance. The rule is meant to keep out “music-as-accompaniment” relationships (e.g., sound track/film). With this in mind, take a look at http://www.susanschwalb.com/pages/abooks.html#
The problem here is that to experience one of these works by Boykin and Schwalb you must make arrangements with one of the galleries. OR: give Marty or Susan a call & invite them to your class.

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May 20 2009

Composition Class: Books and Listening List

Posted by Christian Carey in Book review, Counterpoint, File Under?, Fugue, Krenek, Shapey, Uncategorized, classical, composer, contemporary classical, pedagogy, teaching

 shapeycover.jpg
 I’m teaching the composition class at Westminster Choir College for the first time this fall. The course includes all of the first-semester composition majors as well as non-majors interested in composing (or, perhaps, needing an elective).

We’re going to be using three books as texts during the term:

-          Modal Counterpoint, in the Style of the Sixteenth Century, Ernst Krenek (Boosey).

-          The Study of Fugue, Alfred Mann (Dover).

-          A Basic Course in Music Composition, Ralph Shapey (Presser).

Each of these is a small primer on one of the big, central topics in the craft of composition: Sixteenth century counterpoint, fugue, and twentieth century composition approaches. I like that two of them are exercise-heavy – the Krenek and Shapey – while one includes a more historiographical approach, with plenty of examples from the literature. Each author strikes a different tone: Krenek is thorough-going, Mann authoritative and Shapey brilliantly creative, if a bit on the cranky side.

None of them are complete discussions of their respective topics. But each provides a tantalizing, instructive introduction. The three are easily portable; making them easy companions for student composers to take along to muse over on the quad, in the library, or off-campus. What’s more, the combined price tag is less than the cost of many textbooks.

Next up: the listening list. I’m very open to thoughts from Sequenza 21 contributors and readers. Which pieces do you think are essential listening and study for first-semester composers? Drop some suggestions in the comments section!

I have a feeling the toughest part of preparing the course will be winnowing this down to a manageable number of pieces!

 

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