From the other counterpoint thread:Instead of completely hijacking that thread, I decided to start a new one, since we are going off topic.Originally Posted by pull_plug
I find almost all of my works, including some highly chromatic orchestral and even my rock songs very much influenced by my counterpoint studies. None of them strictly follow species counterpoint rules (few even come close to that mark), but after fully grasping the intent of the exercises, I find the spirit of good contrapuntal writing is with me in everything I do.
Here's an example from my own repertory:
Epidemic - 1.91 MB
Section I (0:00-0:30)
Listen to the three main lines: Oboe plays the melody while pizz basses and cellos play the bass line. There is a slow inner line in arco violas. These three voices (ignore the harp and flute parts for the moment) are very closely aligned to species counterpoint, though I am fairly liberal in my personal interpretation of dissonance and consonance.
Section II (0:30-1:00)
Here the main contrapuntal trio is played by two bassoons (upper lines) and a bass clarinet (bass line). Ignore the other instrument textures. The two bassoons play rhythmically together, and the bass clarinet plays off of them. The bassoons follow traditional voice leading between themselves (including "horn fifths"), but the clarinet sets against them in places creating 7ths and 9ths. I decided for this section to consider these intervals *sometimes* consonant; my personal extension to Fux for these measures
Section III (1:00-1:18)
Here we have a classic duet between oboe and bassoon, very contrapuntal in nature. I again am a little liberal with the use of 7ths and 9ths. I recall writing this section and having species counterpoint very much in my head. Though it breaks away from it much in the harmony, the melodies and voice leading is still following guidelines suggested by our good friend Fux!
Section IV (1:18-2:00)
Repeating section I, with a few additional instruments. The main melody is now doubled at the octave in the piccolo. Note the new melody added by the quiet glockenspiel, turning the three-part theme into a four-part. Later the oboe joins the other winds in a short chorale (with Fuxian voice-leading!) while the piccolo goes off on a melodic fragment of its own.
Please feel free to ask any questions you like. If people are interested, I can post an example from my rock music, or something else of good contrast to this one.
- Jamie Kowalski
PS - I'd love to see/hear anyone else's examples, if they care to post them!