Last Counterpoint Question
Moderators: Peter Thomsen, miker
Hello,
Thanks so much for all your help. This is my last counterpoint question. I am doing a counterpoint for alto sax and piano. I had the piano line in bass clef. But I think the ranges were weird and incorrect. So, I transposed the bass notes to treble. Now I am second guessing myself and wondering if the voices are crossing.
Thanks so much for all your help. This is my last counterpoint question. I am doing a counterpoint for alto sax and piano. I had the piano line in bass clef. But I think the ranges were weird and incorrect. So, I transposed the bass notes to treble. Now I am second guessing myself and wondering if the voices are crossing.
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- Posts: 181
- Joined: Tue Jul 03, 2018 12:29 am
- Finale Version: Finale 26
- Operating System: Mac
The voices aren't crossing at all in the file you attached.
However, for much of the counterpoint, the voices are very far apart. Typically, unless one line is the bassline, you want the parts to be within an octave of each other. An octave and a 3rd is pushing it. And an octave and a half is about the limit. There are many places you have an octave plus a 6th or more. That's going to make it sound thin.
You may or may not know this, but Finale lets you view the parts in concert pitch (Document > Display in Concert Pitch). Then you won't need to mentally transpose anything.
However, for much of the counterpoint, the voices are very far apart. Typically, unless one line is the bassline, you want the parts to be within an octave of each other. An octave and a 3rd is pushing it. And an octave and a half is about the limit. There are many places you have an octave plus a 6th or more. That's going to make it sound thin.
You may or may not know this, but Finale lets you view the parts in concert pitch (Document > Display in Concert Pitch). Then you won't need to mentally transpose anything.
Nick
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- Posts: 181
- Joined: Tue Jul 03, 2018 12:29 am
- Finale Version: Finale 26
- Operating System: Mac
Here's also some other things to watch out for. I know you didn't ask for them but thought I'd offer.
- Attachments
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- Counterpoint 1 .musx
- (106.64 KiB) Downloaded 198 times
Nick
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- Posts: 181
- Joined: Tue Jul 03, 2018 12:29 am
- Finale Version: Finale 26
- Operating System: Mac
Is this what you're seeing?
Transposed Concert Pitch I was referencing everything in concert pitch. Alto Sax is down a m6.
Transposed Concert Pitch I was referencing everything in concert pitch. Alto Sax is down a m6.
Nick
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- Posts: 181
- Joined: Tue Jul 03, 2018 12:29 am
- Finale Version: Finale 26
- Operating System: Mac
No worries, motet.
Yeah, there's nothing wrong with parallel thirds at all. However, it's best to not have as many. 6 parallel thirds in about 8 bars is a bit much.
When writing in 5th species counterpoint (which this is), you have to look at the voice leading right before the barline, from measure to measure, and often from beat 3 to beat 1.
Though keep up the practice and good work, djdillyc! Counterpoint is very good to learn, and the only way to learn is practice. As a composer myself, I've done hundreds of counterpoint exercises to really make it intuitive. (hundreds may be extreme for most people, but I typically do things to the extreme).
Keep doing more, and keep getting feedback, and you'll master counterpoint in no time.
Yeah, there's nothing wrong with parallel thirds at all. However, it's best to not have as many. 6 parallel thirds in about 8 bars is a bit much.
When writing in 5th species counterpoint (which this is), you have to look at the voice leading right before the barline, from measure to measure, and often from beat 3 to beat 1.
Though keep up the practice and good work, djdillyc! Counterpoint is very good to learn, and the only way to learn is practice. As a composer myself, I've done hundreds of counterpoint exercises to really make it intuitive. (hundreds may be extreme for most people, but I typically do things to the extreme).
Keep doing more, and keep getting feedback, and you'll master counterpoint in no time.
Nick