From: hampday@earthlink.net
Date: Fri Aug 27 2004 - 22:02:40 BST
Ham Priday to Charles Roghair
Sent: Friday, August 27, 2004 5:00 PM
Subject: Re: MD The individual in the MOQ
Charles said:
> Pardon the interruption, but, if you don't mind, Ham, care to elaborate
> on "the rules of Harmony?"
Actually I do mind Charles, because it would undoubtedly reveal the
inadequacy of my training. But, assuming you know something about music,
here's a summary of rules I copied from the first search engine listing
under "harmony and counterpoint". The rules are set forth in typical
internet style by a writer who is not without sarcasm.
"The rules of counterpoint are essentially the same as the rules of harmony.
They depend on the style you wish to re-create. Therefore, in the style of
Bach, the rules of melodic progression and the rules (and guidelines) which
are pertinent to the style of Bach apply in counterpoint as well.
To write good counterpoint one must learn the art of thinking strategically,
so as to fully exploit (without breaking the rules) the potential creative
possibilities which are inherent in the techniques of counterpoint. These
techniques are: Canon, Imitation, Inversion, Augmentation, Diminution,
Sequence, augmentation, Melodic Variation, and Rhythmic Variation
A good melody:
1) Must have a strong personality : characterful intervals, a definite
rhythmic propulsion and a clear sense of harmonic direction.
2) Must not, ever, be overly complex.
3) Should not cover much more than an octave in pitch.
4) Should contain enough space to allow counter melodies the chance to
register on the ear.
5) Should be kept short enough to be manageable.
6) Should (very difficult !) contain the potential for a certain amount of
harmonic ambiguity. (This contradicts 1 , but the reasons will become
obvious later )
Writing a good counter melody requires all of the above, plus --
1) It must complement the main melody, and not detract from its character.
2) It must have its own individual character and personality.
3) It must be harmonically compatible with the first melody.
4) It must not be so different as to jeopardise musical cohesion. (very
difficult indeed !)
To gain the most value from the study of species counterpoint the rules are
necessarily very restrictive. (To quote my teacher Nadia Boulanger :-
"Everything is forbidden.")
1) All melodic leaps are allowed except :-
a) Augmented Intervals.
b) Any interval wider than a Perfect 5th.
Notes :- You may leap a minor 6th upwards, but must resolve inwards.
You may leap an octave, but only once per cantus firmus.
You may leap a diminished interval, provided that you resolve it
inwards.
2) You may not have more than two consecutive leaps in the same direction.
3) You may not have any sequential melodic patterns.
Allowed :- 3rds and 6ths Major and Minor.
Perfect 5ths
Octaves
Unisons
1st inversion of a Diminished 5th.
Not allowed :- Everything else
No consecutive 5ths and octaves between bars
No melodic repetition
Avoid more than two parallel movements and never do more than three.
Never have a unison or octave on the first beat of a bar except at the start
and finish.
It is wise to avoid the Perfect 5th at the beginning of a bar.
N.B. Contrary Motion is a fundamental ideal in Western/European Music and
you must consistently strive to achieve it. Indirect movement (oblique) is
O.K. Passing and Auxiliary notes are allowed. They must however only occur
on "weak" beats. That is, in a position where the two Harmony Notes which
are being linked are in a rhythmically superior position."
...and so on. And the above doesn't even cover logical progressions for
minor and major chords (it is assumed that readers know the scale signatures
and have passed the ABCs of keyboard harmony.)
I hope you are suitably impressed (or amused).
Best regards,
Ham
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