![]() ![]() You can try Derek Remes (and I should have mentioned him earlier):Ĭounterpoint classes often enough are not taught by composers in US universities, and even composers assigned to teach 18th-century counterpoint usually have more than a passing interest in the period, so the idea of going to a local university and seeing what they might have on offer remains a good one, if you want to work in person with someone locally. Disclaimer: It does take a serious level of commitment.įurther places to look for private online teachers: Europe was crawling with very high-level musicians like this-when standards were unapologetically high-who could improvise better 4-part counterpoint than most anyone who has ever only taken a few perfunctory college courses of Fux can manage even when writing it down over the course of an evening.Īnd, modern day, it's what you see being used by these children who are promoted by the media every few years as rare "geniuses." But those "geniuses" are not doing anything that the thousands of kids the same age and younger couldn't do at the partimenti schools, during the 18th century and thereabouts. In short, partimenti schools used to turn out orphan boys and girls who could improvise fugues by the time they were teenagers. The other links were offered for the purpose of familiarizing you with the particular method of counterpoint training I mentioned, as well as a few very important techniques that to my knowledge are not covered in any book or online course or Youtube video. I also told you that if he was unable to take you on, you could ask him for recommendations. ![]() I gave you a recommendation for a teacher to contact under item no 4. No, I did not miss the point of your post. If he can't take you on, then ask him for recommendations. Contact Andrew Boyle and discuss your goals with him. Rather than me go on about it, you can research that yourself. The important thing is slotting the pitches you sing as precisely as possible, and never going faster than your accuracy will allow, which is only possible if you do that in your mind's ear first.Ĭonsider learning the Neapolitan school of Partimento to acquire contrapuntal technique. None of this has to start off in tempo you begin by going only as fast as you can mange. ![]() Again, you can transpose, for example, a two-parter into two different keys to put each pass in your vocal range, and then flip the line up or down the octave while singing when the range becomes too low or too high, since the inventions typically have a wider compass than that of your average singer. She also had them do this with the two- and three-part inventions. This exercise is about high-level ear training and inculcating the principles of pristine independence of two or more concurrent lines, and the inversions that trip over certain contrapuntal principles in such cases are no harm, no foul, as long as you're aware of them when you hear them, and a more than fair tradeoff in the overall scheme of things. You can transpose the chorale for each pass to a key that will accommodate your vocal range, and she didn't make an issue of those times when a male student has to sing a female part 8vb, or a female student has to sing a male part 8va. Nadia Boulanger had her students take Bach chorales and play three voices while singing the fourth voice, going through each of the voices of the same chorale. From there he simply expanded gradually into more and more independence and fluidity of line. And eventually, harmonizing given melodies in the same open score format. Bach began his composition students on 4-part harmony, realizing thorough basses at the keyboard, and writing them them out with each voice on its own stave, not on the grand staff. ![]()
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