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Alceste Floupe
10701
Drogué·e à l’AFéine
Membre depuis 19 ans
Oh la slut ! 
http://itunes.apple.com/fr/artist/s.t./id48463807 + http://nicolasreau.bandcamp.com/
Anonyme
521410
N'empêche qu'il dément pas être chippendale 
VFred
19498
Drogué·e à l’AFéine
Membre depuis 20 ans
VFred
19498
Drogué·e à l’AFéine
Membre depuis 20 ans
Anonyme
521410
Anonyme
521410
Ok... anyway... mon last post... just for music...
Chapter 2: Harmony
Richness
Harmonic Definition
Modulation
It may seem odd to move directly from a discussion of line directly to one of harmony, while postponing discussion of the ways in which lines interact. However, harmony is best understood as the integration of simultaneous musical lines into a coherent whole. No matter how independent the lines in question, we always hear a whole — although with some perception of foreground and background — and not simply a group of independent strands. Put another way, music — no matter how dense - is understood by one brain at a time. This point merits further discussion. We do not contend that the musical ear cannot distinguish independent lines, but rather that one cannot simultaneously pay them equal attention. If the listener is not to have the impression of several unrelated events going on at the same time, the strands must coalesce into a coherent whole. This largely results from harmonic and rhythmic coordination. If the harmonic language is coherent, it will also create expectations about the music’s direction. If the various lines regularly meet at metrical points of reference, it is hard to impute to them complete independence. Human hearing, it seems, does not require much encouragement to seek out such connections.
We will only look at aspects of harmonic design that specifically relate to contrapuntal textures. For a more general discussion of harmonic questions, the reader is referred to our forthcoming work on harmony.
Richness
Random vertical encounters do not constitute harmony, in any serious sense: Harmonic language needs coherence. Indeed, there are advantages to be gained from control of harmonic tension and direction. Without anticipating in detail the content of the final volume in this series, there is still a major point to be made here.
If the counterpoint is not to sound haphazard or rough, the harmony needs to be as rich as possible. "Rich", in a classical context, generally means full - containing the third of the chord, and often using sevenths as well - as well as participating in a lively progression, not limited to a few primary chords in root position. ( This is an area where the standard species approach fails pitifully.) In non-classical contexts, richness would imply prominent and frequent presentation of characteristic sonorities, and variety in the control of tension/relaxation.
The weaknesses listed below - very common in student work - all attract the listener’s attention, due to momentary harshness or bareness of harmonic effect:
# parallel dissonances.
The parallel 7ths between alto and soprano, from the 1st to the 2nd beat, sound particularly harsh, especially since the 7th on the 2nd beat is major and it resolves onto a bare octave (and further only makes a bare fourth with the bass).
* most cases of parallel 5ths and 8ves (Incidentally, certain parallel 5ths and 8ves that are prohibited in conventional species counterpoint are quite innocuous, even unnoticeable. Once past the earliest stages, instead of blanket prohibitions, it is more useful to discuss why certain cases are disturbing and others not. Such discussions help the student refine his hearing.)
In most species approaches, the octaves created between the C in the first bar and the D in the second would be prohibited as being too close. However they are not really disturbing, because the motives in the two bars do not correspond, mitigating any tendency for the ear to associate these notes.
* direct 5ths and 8ves between outer parts, unless softened by a suspension or other prominent harmonic richness elsewhere
Compare the direct octave in the first example, rather prominent, since all the parts move in the same direction, with that in the second, where the suspension in the middle part creates a counterbalancing richness, and attracts the ear away from the outer parts.
* approaching dissonances in similar motion, especially in outer parts. This is especially flagrant when they leap.
In the first example, the similar motion ofsoprano and bass creates a very strong accent on the seventh in bar 2. In the second example, this accent is somewhat weakened by the contrary motion of the bass.
Conversely, richness can often be enhanced by:
# paying particular care to semitone conflicts: They are almost always improved by addition of a third or sixth to one or both of the involved notes, in another part.
# doubling dissonances at the third or the sixth,(as will be seen below, this is the main use for invertible counterpoint at the tenth: By rigorously avoiding parallel motion, such counterpoint guarantees that adding such doublings will not create parallel 8ves and 5ths.)
These two versions of the same example display how a dissonant note can be either be softened or heightened. In the first, the arrival on the major seventh in bar 3 is very harsh since the upper parts move in similar motion. Further, the resolution (by exchange) does not diminish the level of interval tension. In the proposed variant, the dissonant F# and its resolution are doubled at the 6th in the middle part, creating a much richer effect, more in tune with the style of the opening bars.
# aiming at the fullest chord possible at metrical stresses,
# frequent use of suspensions (softening squareness of harmony and rhythm).
One other point: Rather than limiting the student to simple consonant harmony throughout study of the species, it is better to gradually enlarge the harmonic vocabulary to include seventh chords, modulation and chromaticism. My own goal is to arrive at the same harmonic resources at the end of four part contrapuntal study as in a course of chromatic harmony. This also helps bring together the two disciplines. In fact, the further one explores harmonic richness, the more it becomes a matter of refined voice leading, and the further one advances in counterpoint, the more sophisticated the harmonic resources required to solve problems.
Harmonic Definition
One frequent problem for students in dense contrapuntal textures is harmonic definition: Particularly with accented dissonances, the underlying harmony can easily be obscured.
The listener must "deduce" the underlying harmony from the information presented. This information includes:
# the relative number of chord and non-chord tones sounding simultaneously,
http://www.musique.umontreal.ca/personnel/Belkin/bk.C/14.gif border="0" />
Measure 2 in this example illustrates a common problem in student work. Here the top parts arrive at a consonance suggesting a D minor chord, and the bottom parts, in their turn, suggest a first inversion C major chord. The fact that the tied F in the alto moves by leap suggests that it is a chord tone; the fact that the lower parts do not move to a clear consonance make it difficult to consider them as just passing tones. In short, the information presented is unclear, and leaves the listener trying to puzzle out the harmony from conflicting cues. The overall effect is distracting, creating an inappropriate accent.
# the relative rhythmic importance accorded chord and non-chord tones,
# the placement of leaps: Leaps are normally made to and from chord tones; when there are several in a row, they are heard as outliningchords. The only major exception to this rule is appogiaturas (approached by leap). However in this case the leap to the dissonance is used as a motive, Otherwise, apart from the very occasional special case like text illustration, the dissonant note will sound like a mistake.
# (to a lesser extent) the harmonic direction of previous chords.
What seems to happen here is that the listener "weighs the evidence", and tries to parse the harmony in a meaningful way.
Modulation
Although a full discussion of modulation is really the province of a book on harmony, contrapuntal texture does create some special problems in defining tonal direction within a modulation. Schoenberg’s counterpoint book is the only text, to my knowledge, which includes exercises specifically requiring the student to modulate within contrapuntal textures. Such exercises are challenging, and should be part of every program of contrapuntal study.
Most explanations of modulation focus on pivot chords. However the way newly altered tones are approached melodically is at least as - if not more - important in making a modulation convincing to the ear. Alterations create novelty. There is always one line introducing each alteration. (Otherwise the altered note would be doubled, creating harshness as well as a weak resolution.) If the modulation is not to seem confused, this line must be in the foreground. This means avoiding distracting motivic or harmonic events elsewhere, and giving the new accidental at least some rhythmic weight. The composer must draw the listener’s ear to the active notes in the modulation. One excellent way to do this is to make the new alteration the resolution of a suspension.
http://www.musique.umontreal.ca/personnel/Belkin/bk.C/15.gif border="0" />
Here the accidentals announcing D minor, C# and Bb, are both treated as suspension resolutions. The suspension attracts the listener’s ear, and the fact that the newly altered note acts as a resolution makes its arrival particularly smooth.
Of course, the degree of accent accorded these notes will depend on the modulation’s importance in the form: Is it merely local color or does it articulate the arrival of a major new section?
This material is © Alan Belkin, 2000. Legal proof of copyright exists. The material may be used free of charge provided that the author's name is included.
and my last song forever on af... (piano unique performance recorded in a church par mes favorites sound engineer) http://fr.midipedia.net/fichiers/musique/Snoop_Dogg/Snoop_Dogg_-_Murder_Was_the_Case.mid
Chapter 2: Harmony
Richness
Harmonic Definition
Modulation
It may seem odd to move directly from a discussion of line directly to one of harmony, while postponing discussion of the ways in which lines interact. However, harmony is best understood as the integration of simultaneous musical lines into a coherent whole. No matter how independent the lines in question, we always hear a whole — although with some perception of foreground and background — and not simply a group of independent strands. Put another way, music — no matter how dense - is understood by one brain at a time. This point merits further discussion. We do not contend that the musical ear cannot distinguish independent lines, but rather that one cannot simultaneously pay them equal attention. If the listener is not to have the impression of several unrelated events going on at the same time, the strands must coalesce into a coherent whole. This largely results from harmonic and rhythmic coordination. If the harmonic language is coherent, it will also create expectations about the music’s direction. If the various lines regularly meet at metrical points of reference, it is hard to impute to them complete independence. Human hearing, it seems, does not require much encouragement to seek out such connections.
We will only look at aspects of harmonic design that specifically relate to contrapuntal textures. For a more general discussion of harmonic questions, the reader is referred to our forthcoming work on harmony.
Richness
Random vertical encounters do not constitute harmony, in any serious sense: Harmonic language needs coherence. Indeed, there are advantages to be gained from control of harmonic tension and direction. Without anticipating in detail the content of the final volume in this series, there is still a major point to be made here.
If the counterpoint is not to sound haphazard or rough, the harmony needs to be as rich as possible. "Rich", in a classical context, generally means full - containing the third of the chord, and often using sevenths as well - as well as participating in a lively progression, not limited to a few primary chords in root position. ( This is an area where the standard species approach fails pitifully.) In non-classical contexts, richness would imply prominent and frequent presentation of characteristic sonorities, and variety in the control of tension/relaxation.
The weaknesses listed below - very common in student work - all attract the listener’s attention, due to momentary harshness or bareness of harmonic effect:
# parallel dissonances.
The parallel 7ths between alto and soprano, from the 1st to the 2nd beat, sound particularly harsh, especially since the 7th on the 2nd beat is major and it resolves onto a bare octave (and further only makes a bare fourth with the bass).
* most cases of parallel 5ths and 8ves (Incidentally, certain parallel 5ths and 8ves that are prohibited in conventional species counterpoint are quite innocuous, even unnoticeable. Once past the earliest stages, instead of blanket prohibitions, it is more useful to discuss why certain cases are disturbing and others not. Such discussions help the student refine his hearing.)
In most species approaches, the octaves created between the C in the first bar and the D in the second would be prohibited as being too close. However they are not really disturbing, because the motives in the two bars do not correspond, mitigating any tendency for the ear to associate these notes.
* direct 5ths and 8ves between outer parts, unless softened by a suspension or other prominent harmonic richness elsewhere
Compare the direct octave in the first example, rather prominent, since all the parts move in the same direction, with that in the second, where the suspension in the middle part creates a counterbalancing richness, and attracts the ear away from the outer parts.
* approaching dissonances in similar motion, especially in outer parts. This is especially flagrant when they leap.
In the first example, the similar motion ofsoprano and bass creates a very strong accent on the seventh in bar 2. In the second example, this accent is somewhat weakened by the contrary motion of the bass.
Conversely, richness can often be enhanced by:
# paying particular care to semitone conflicts: They are almost always improved by addition of a third or sixth to one or both of the involved notes, in another part.
# doubling dissonances at the third or the sixth,(as will be seen below, this is the main use for invertible counterpoint at the tenth: By rigorously avoiding parallel motion, such counterpoint guarantees that adding such doublings will not create parallel 8ves and 5ths.)
These two versions of the same example display how a dissonant note can be either be softened or heightened. In the first, the arrival on the major seventh in bar 3 is very harsh since the upper parts move in similar motion. Further, the resolution (by exchange) does not diminish the level of interval tension. In the proposed variant, the dissonant F# and its resolution are doubled at the 6th in the middle part, creating a much richer effect, more in tune with the style of the opening bars.
# aiming at the fullest chord possible at metrical stresses,
# frequent use of suspensions (softening squareness of harmony and rhythm).
One other point: Rather than limiting the student to simple consonant harmony throughout study of the species, it is better to gradually enlarge the harmonic vocabulary to include seventh chords, modulation and chromaticism. My own goal is to arrive at the same harmonic resources at the end of four part contrapuntal study as in a course of chromatic harmony. This also helps bring together the two disciplines. In fact, the further one explores harmonic richness, the more it becomes a matter of refined voice leading, and the further one advances in counterpoint, the more sophisticated the harmonic resources required to solve problems.
Harmonic Definition
One frequent problem for students in dense contrapuntal textures is harmonic definition: Particularly with accented dissonances, the underlying harmony can easily be obscured.
The listener must "deduce" the underlying harmony from the information presented. This information includes:
# the relative number of chord and non-chord tones sounding simultaneously,
Measure 2 in this example illustrates a common problem in student work. Here the top parts arrive at a consonance suggesting a D minor chord, and the bottom parts, in their turn, suggest a first inversion C major chord. The fact that the tied F in the alto moves by leap suggests that it is a chord tone; the fact that the lower parts do not move to a clear consonance make it difficult to consider them as just passing tones. In short, the information presented is unclear, and leaves the listener trying to puzzle out the harmony from conflicting cues. The overall effect is distracting, creating an inappropriate accent.
# the relative rhythmic importance accorded chord and non-chord tones,
# the placement of leaps: Leaps are normally made to and from chord tones; when there are several in a row, they are heard as outliningchords. The only major exception to this rule is appogiaturas (approached by leap). However in this case the leap to the dissonance is used as a motive, Otherwise, apart from the very occasional special case like text illustration, the dissonant note will sound like a mistake.
# (to a lesser extent) the harmonic direction of previous chords.
What seems to happen here is that the listener "weighs the evidence", and tries to parse the harmony in a meaningful way.
Modulation
Although a full discussion of modulation is really the province of a book on harmony, contrapuntal texture does create some special problems in defining tonal direction within a modulation. Schoenberg’s counterpoint book is the only text, to my knowledge, which includes exercises specifically requiring the student to modulate within contrapuntal textures. Such exercises are challenging, and should be part of every program of contrapuntal study.
Most explanations of modulation focus on pivot chords. However the way newly altered tones are approached melodically is at least as - if not more - important in making a modulation convincing to the ear. Alterations create novelty. There is always one line introducing each alteration. (Otherwise the altered note would be doubled, creating harshness as well as a weak resolution.) If the modulation is not to seem confused, this line must be in the foreground. This means avoiding distracting motivic or harmonic events elsewhere, and giving the new accidental at least some rhythmic weight. The composer must draw the listener’s ear to the active notes in the modulation. One excellent way to do this is to make the new alteration the resolution of a suspension.
Here the accidentals announcing D minor, C# and Bb, are both treated as suspension resolutions. The suspension attracts the listener’s ear, and the fact that the newly altered note acts as a resolution makes its arrival particularly smooth.
Of course, the degree of accent accorded these notes will depend on the modulation’s importance in the form: Is it merely local color or does it articulate the arrival of a major new section?
This material is © Alan Belkin, 2000. Legal proof of copyright exists. The material may be used free of charge provided that the author's name is included.
and my last song forever on af... (piano unique performance recorded in a church par mes favorites sound engineer) http://fr.midipedia.net/fichiers/musique/Snoop_Dogg/Snoop_Dogg_-_Murder_Was_the_Case.mid
Anonyme
521410
nonconforme
8888
Je poste, donc je suis
Membre depuis 21 ans
ZaanG-> je trouve ton toucher (rectal) de piano un peu artificiel. Tu n'essaierais pas ne nous blouser avec un fichier midi ? 
Affiliation : Dirigeant Fondateur d'Orosys - Two notes Audio Engineering
Anonyme
12551
Traumax
53326
Goncourt du Grouik
Membre depuis 18 ans
Une coupure d'eau chaude quand j'ai prévu un combo douche + vaisselle.
Vu qu'il est 19h15, ce sera pas rétabli avant demain matin, et vu que je viens de taper une heure de ménage, je pue le poney mort et je colle comme un post it
Vu qu'il est 19h15, ce sera pas rétabli avant demain matin, et vu que je viens de taper une heure de ménage, je pue le poney mort et je colle comme un post it
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