Contemporary Counterpoint | Classical Context

SYLLABUS

COUNTERPOINT FOR COMPOSERS - FUGUE & INVENTIONS

Instructor - Andrew James Clark - www.andrewjamesclark.ca

Counterpoint for Composers is a twelve hour, "non-tonal" counterpoint course designed to teach students the fundamentals of two-part counterpoint without the restrictions of functional harmony. The stylistic rules and procedures featured within this course are those that are common across all prominent styles of counterpoint from throughout history, and that combine into what we now recognize as as "20th-Century Counterpoint". Students will learn to construct melodies within non-functional harmonic languages and the subsequent writing of two-part counterpoint, culminating in the creation of a two-part invention. The goal is to achieve proficiency in contrapuntal writing while sustaining musical comprehensibility in the absence of functional harmony.

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1. NON-TONAL MELODY WRITING
Monophonic melodies in the style of Debussy, Hindemith, Ruggles and Varese

2. NON-TONAL TWO PART WRITING
Imitation, intervalic stagnation and tintinnabulation

3. NON-TONAL SUSPENSIONS AND SEQUENCES
Style study of Palestrina, Hindemith and Bartok

4. NON-TONAL INVERTABLE COUNTERPOINT
Subjects and countersubjects in German and French styles

5. NON-TONAL TWO-PART INVENTIONS
Academic two-part inventions

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SYLLABUS

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1. NON-TONAL MELODY WRITING Monophonic melodies in the style of Debussy, Hindemith, Ruggles and Varese

2. NON-TONAL TWO PART WRITING Imitation, intervalic stagnation and tintinnabulation

3. NON-TONAL SUSPENSIONS AND SEQUENCES Style study of Palestrina, Hindemith and Bartok

4. NON-TONAL INVERTABLE COUNTERPOINT Subjects and countersubjects in German and French styles

5. NON-TONAL TWO-PART INVENTIONS Academic two-part inventions