Counterpoint.

[nonohmic]

From what I can gather I think this is the next step in my musical training. My theory is at a basic level, i can read music, construct chords, construct scales etc. But my knowledge of harmony is limited.

My view on counterpoint is the bass providing an opposite melody (for want of a better word) to the main melody?

Am I on the right track or can someone give me a better definition?

Basically now I know what notes are possible to play I wanna know what notes TO play to build a good line.

Where and how did you guys start to learn counterpoint?

Cheers, nonohmic.

 

[SuperDuck]

There are a lot more educated people on this board than I to give you advice, but I would suggest looking into some Baroque composers and giving a listen to as many examples of counterpoint as you can muster.

 

[BassChuck]

Learning music theory is a good start to seeing what can be done with counterpoint. Do a search here for "countermelody" for some good information.

Understand though that 'the right notes to play' is someone else's idea. And though there is a strong agreement on what fits into a chord and what is 'permissible', remember that these ideas came about AFTER the creative artists had a go at making what they thought was good music. In other words, a lot of what McCartney did with the Beatles would not pass muster with a 16th Century Counterpoint Class in music school... and yet, how many of us would love to have the ability to play lines like that of our own?

So then, how to learn to do this? Why not record some melodies that you know and make up a line that goes with them. Experiment. Find out what sounds good to you. You've been listening to music for years, so its likely that the choices you make will be the same ones that would be handed to you via a theory book. Well, most them will be... the others are yours to be proud of.. if you like the sound.

 

[scourge]

Listen to some canons and such. Also, Muse has some great examples of countermelodies. But they basically just ripped them from classical music.
If you have the means to record on your computer, you can record a melody, then play it on a loop and experiment playing lines over it. I use sound forge, but I'm sure there are numerous programs you could use.

 

[Zachass]

You could start with Bach, his fugues especially use a lot of counter-point and he's pretty much the undisputed champ.

 

[Krisfield]

Study of Counterpoint by John J. Fux

Amazon.com

The most celebrated book on counterpoint is Fux's great theoretical work Gradus ad Parnassum. Since its appearance in 1725, it has been used by and has directly influenced the work of many of the greatest composers. J. S. Bach held it in high esteem, Leopold Mozart trained his famous son from its pages, Haydn worked out every lesson with meticulous care, and Beethoven condensed it into an abstract for ready reference.

It so happens that I have it on order. I've experimented a little with counterpoint (melody-against-melody). It's a refreshing change from homophonic music. Also, Polyphonic music is said to train the ear very well.

 

[BassChuck]

I was thinking about this thread the other day while listening to the radio and it occured to me that that Aaron Copeland wrote some fine counterpoint. Simple long lines that worked well together, yet didn't always outline a harmony the same way some pop bassists and those 18th century guys did.

Perhaps a study of Copeland would be useful for a practical outlook on counterpoint.