this video was so helpful~! it really makes counterpoint so approachable and with the examples you really can get started with using it right after watching, which is something I've noticed a lot with the videos you make that really sets your content apart from other educational content - you immediately feel empowered to use the concepts right away
Thank you, Nikki! I really appreciate your comment. I spend a lot of effort on each video to try and make sure that the lessons are as effective as possible. Reading comments like yours helps let me know that I'm doing something right, and helps keep me motivated to make future videos :)
DUDE! I asked if you could do a video on counterpoint a few weeks ago and you actually did it! Fuck yeah, my man! Your channel is pure gold! You have no idea how much you've been helping me with my compositions! I even got hired because of everything I've learned from you! I can't thank you enough!
That is incredible, Congratulations on the work! I'm so glad that I've been able to help. And thank you for the recommendation for this video. I had originally planned on making an entire series about species counterpoint, but your question really made me think about how I would go about boiling it all down in a single video. In a way you helped inspire the entire process I discuss in this video, so thank you again for the support and inspiration :)
Great video with a very modern view on the topic. I've done countless of these traditional counterpoint exercises and they actually helped me a lot, but I never know how to really integrate it into a more modern chord-based approach of writing music. This has opened up quite some news of thinking about it. Thanks a lot, that's a sub from me :)
Beautiful explanation. You are made to teach. You know why I love this? I have good ear but little patience for practicing theory. This video will go to my saved ones.
The thing that I wish to add is that, if you think of it all, hear it all in your mind (thus far ) you can kind of squish it into what would be a C6 chord of later, or modern, harmony.. I say this here because, though I admire the great creators of counterpoint of centuries ago, I believe all of it was leading up to vertically sounded chords anyway..And, yes, of course CP is a great tool for film, yet it really needn't be looked into so deeply any longer as, any movement up down, sideways; minor 2nds, major 7ths, augmented octaves (alla: C to c# above, say), +9 ( CMaj with an Eb on top [7th or no 7th included]), the b5 /#11,..... on and on, all of it allowed anywhere now, so that we needn't even bother with all the traditional rules any longer and simply do what WE like, and hope the ones we are making it for, like it too ! 🙃 2/4 l[:🙃🙃l🙃🙃:]l 😇
Really great video on counterpoint and for once, the YT algo got it spot on because I was just reading the chapter on counterpoint last night and then today, the counterpoint vid was recommended. Got two questions. First, would you consider linking your YT vids to each subject in your book? I think it would be very beneficial to link each subject in the book to the visual content you have. Would be useful to link the content and would also be an extra viewer stream for YT. Second question, do you have any content on key changing techniques? I've got an understanding of some common techniques such as using diatonic common chords, chromatic pivot chords, chromatic mediants etc but just wondered if you have anything you can share on this subject already available that I may have missed or be willing to cover the topic? Another awesome video, very well enjoyed!
Oooo, Great question! The biggest difference is that counter melodies are subservient to the primary melody while counterpoint lines are independent and equal to it. Counter melodies add color and energy but cannot, under any circumstances, compete with the primary melody. This is why they often end up with a "call and response" type role. Counterpoint lines are equal and the goal is to create a composite sound by combining all of the lines together at the same time. This is why counterpoint lines can often be featured as their own theme/melody earlier in a piece/film but counter melodies cannot. Without the context of the primary melody, a counter melody is often found lacking as it's own unique idea. Does this make sense?
@@TableTopComposer May I bother you again with a few more questions? Do you know any example of a countermelody that doesn't follow the "call and response" structure? Also, a contrapuntal line as a secondary melody in a texture that is not contrapuntal (in other words, that has sustained chords, arpeggios and other harmonic devices) would still be considered counterpoint? Or just a secondary melody / countermelody?
@@fabulousaudiorecipes1669 another great question! These two stratgeis aren't mutually exclusive. A counterpoint line can be used as a "response" and a countermelody be more independent. Really the only difference is that "counterpoint" views two melodic ideas as being equal, and "counter-melodies" are viewed as subservient. With this in mind there are all kinds of different strategies you can use to write countermelodies. Ostinati, Arpeggios, Basslines, and more have all been used as "countermelodies" when used in a more "melodic" way (paying more attention to their phrasing and development like you would with a regular melody). So by all means you can feel free to use contrapuntal strategies to write a countermelody. It's not all that uncommon. As long as you keep in mind that golden rule of "equal or subservient" you shouldn't have any issues :)
Thank you so much. I understand the concept better. But is interval the only way of writing counterpoint? Can you do a video explaining splitting ratio part? It doesn’t sound well or I don’t understand the concept.
12:58 that is parallel motion by a fifth, wich is not wrong. What is wrong is parallel fifths, wich is a completely different thing. I think you are confused.
Counterpoint is rule based harmonization of a melody, and fugue q a automates some of the process. It seems using this approach is mostly trying many possibilities until you stumble on something that sounds good, because I don't see how you can come up with a good melody a priori without its harmonization. It's probably good practice though. Otoh I think the first two or three chords of a melody already determine if you got something, so it might be more productive to come up with harmonies simultaneously with melodies.
this video was so helpful~! it really makes counterpoint so approachable and with the examples you really can get started with using it right after watching, which is something I've noticed a lot with the videos you make that really sets your content apart from other educational content - you immediately feel empowered to use the concepts right away
Thank you, Nikki! I really appreciate your comment. I spend a lot of effort on each video to try and make sure that the lessons are as effective as possible. Reading comments like yours helps let me know that I'm doing something right, and helps keep me motivated to make future videos :)
DUDE! I asked if you could do a video on counterpoint a few weeks ago and you actually did it! Fuck yeah, my man! Your channel is pure gold! You have no idea how much you've been helping me with my compositions! I even got hired because of everything I've learned from you! I can't thank you enough!
That is incredible, Congratulations on the work! I'm so glad that I've been able to help. And thank you for the recommendation for this video. I had originally planned on making an entire series about species counterpoint, but your question really made me think about how I would go about boiling it all down in a single video. In a way you helped inspire the entire process I discuss in this video, so thank you again for the support and inspiration :)
I think the man deserves nicer language and better respect than that......DUDE !!
im a bedroom producer and this video is just straight up sauce. Thank u sir
Liked, bookmarked, and recommended, I've been craving for something like this for years now
Glad to help, Miles! thank you for the support :)
This channel is pure gold! Thank you
Great video with a very modern view on the topic. I've done countless of these traditional counterpoint exercises and they actually helped me a lot, but I never know how to really integrate it into a more modern chord-based approach of writing music. This has opened up quite some news of thinking about it. Thanks a lot, that's a sub from me :)
Beautiful explanation. You are made to teach. You know why I love this? I have good ear but little patience for practicing theory. This video will go to my saved ones.
Ostinato + Counterpoints = God Level
The thing that I wish to add is that, if you think of it all, hear it all in your mind (thus far ) you can kind of squish it into what would be a C6 chord of later, or modern, harmony..
I say this here because, though I admire the great creators of counterpoint of centuries ago, I believe all of it was leading up to vertically sounded chords anyway..And, yes, of course CP is a great tool for film, yet it really needn't be looked into so deeply any longer as, any movement up down, sideways; minor 2nds, major 7ths, augmented octaves (alla: C to c# above, say), +9 ( CMaj with an Eb on top [7th or no 7th included]), the b5 /#11,..... on and on, all of it allowed anywhere now, so that we needn't even bother with all the traditional rules any longer and simply do what WE like, and hope the ones we are making it for, like it too !
🙃 2/4 l[:🙃🙃l🙃🙃:]l 😇
Yeah sure but it might be nice to understand the history of it
Really great video on counterpoint and for once, the YT algo got it spot on because I was just reading the chapter on counterpoint last night and then today, the counterpoint vid was recommended.
Got two questions. First, would you consider linking your YT vids to each subject in your book? I think it would be very beneficial to link each subject in the book to the visual content you have. Would be useful to link the content and would also be an extra viewer stream for YT.
Second question, do you have any content on key changing techniques? I've got an understanding of some common techniques such as using diatonic common chords, chromatic pivot chords, chromatic mediants etc but just wondered if you have anything you can share on this subject already available that I may have missed or be willing to cover the topic?
Another awesome video, very well enjoyed!
Thanks man....God bless you
This was good. The Species bit was what was after. Species 1 specifically . Couldn't find any videos on RUclips explaining it properly
Thank you! Glad to help :)
Great video! Thanks for sharing your knowledge with us! What would you say is the difference between counterpoint and countermelody (if any)?
Oooo, Great question! The biggest difference is that counter melodies are subservient to the primary melody while counterpoint lines are independent and equal to it. Counter melodies add color and energy but cannot, under any circumstances, compete with the primary melody. This is why they often end up with a "call and response" type role. Counterpoint lines are equal and the goal is to create a composite sound by combining all of the lines together at the same time. This is why counterpoint lines can often be featured as their own theme/melody earlier in a piece/film but counter melodies cannot. Without the context of the primary melody, a counter melody is often found lacking as it's own unique idea. Does this make sense?
@@TableTopComposer It makes perfect sense! Thank you for this great explanation! 😄
@@TableTopComposer May I bother you again with a few more questions? Do you know any example of a countermelody that doesn't follow the "call and response" structure? Also, a contrapuntal line as a secondary melody in a texture that is not contrapuntal (in other words, that has sustained chords, arpeggios and other harmonic devices) would still be considered counterpoint? Or just a secondary melody / countermelody?
@@fabulousaudiorecipes1669 another great question! These two stratgeis aren't mutually exclusive. A counterpoint line can be used as a "response" and a countermelody be more independent. Really the only difference is that "counterpoint" views two melodic ideas as being equal, and "counter-melodies" are viewed as subservient. With this in mind there are all kinds of different strategies you can use to write countermelodies. Ostinati, Arpeggios, Basslines, and more have all been used as "countermelodies" when used in a more "melodic" way (paying more attention to their phrasing and development like you would with a regular melody). So by all means you can feel free to use contrapuntal strategies to write a countermelody. It's not all that uncommon. As long as you keep in mind that golden rule of "equal or subservient" you shouldn't have any issues :)
Thank you so much. I understand the concept better. But is interval the only way of writing counterpoint? Can you do a video explaining splitting ratio part? It doesn’t sound well or I don’t understand the concept.
what is the notation software ？
12:03
This is really helpful thank you
Glad to help, Seth!
you are amazing Thank you!
Very nice, merci.
12:58 that is parallel motion by a fifth, wich is not wrong. What is wrong is parallel fifths, wich is a completely different thing.
I think you are confused.
You broke Beethoven's rule: do not move to a perfect interval by similar motion. 18:03
Ya but it's okay when it sounds!!
@@froginohm It can.
Omfg thank you so much
please add timestamps to your videos!
Ayo i'm early or what
Counterpoint is rule based harmonization of a melody, and fugue q a automates some of the process. It seems using this approach is mostly trying many possibilities until you stumble on something that sounds good, because I don't see how you can come up with a good melody a priori without its harmonization. It's probably good practice though.
Otoh I think the first two or three chords of a melody already determine if you got something, so it might be more productive to come up with harmonies simultaneously with melodies.
I know counterpoint! 👨🏻💻💊🕴
Trying to use counterpoint to create sad and melodramatic metal riffs lmfao