From: Charles Roghair (ctr@pacificpartssales.com)
Date: Sun Aug 29 2004 - 02:17:23 BST
Ham:
I'm am impressed, amused and appreciative. Much obliged.
The reason I asked further meaning is that I'm relatively new to
playing music. I understand the author's terminology, but none of his
words inspire me to grab my guitar.
'Harmony,' not unlike 'Love' and 'Quality,' I think may transcend the
rules. The rules are arbitrary and dependent on so many variables.
Again, thanks for the explanation.
Best,
Chuck
On Aug 27, 2004, at 2:02 PM, <hampday@earthlink.net> wrote:
>
> 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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