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1

My take is that, to a large extent, the basic principles of counterpoint remain the same -- composing independent melodic lines which interact with each other harmonically. To that extent, the difference in contrapuntal music of various styles will largely mirror the difference in those style's non contrapuntal music. This means that you can combine a study ...


3

Writing a fugue is a mixture of imagination, organization, and mastery of your tools. If you are making a drawing, keeping track of the perspective, the objects you want to appear, and just what object will obscur what other object can be done using ruler and overpainting/erasing as you go. How much time spend masters erasing obscured objects? Fugue ...


14

A fugue is one of the most polyphonic musical pieces you can write. In a typical fugue there are 3 or 4 voices in play that are each treated independent melodies. While this is going on, you have to not only have to keep all the rules of counterpoint in mind for each voice and make sure the harmony always make sense, but you have a structure to keep in mind ...


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I recommend picking up a used copy of "Essentials of Eighteenth Century Counterpoint" http://www.amazon.com/Essentials-Eighteenth-Century-Counterpoint-Practical/dp/0697036057 The book provides examples of J.S. Bach's style and therefore how counterpoint rules work in the context of actual music examples. Perhaps this will help you go beyond just knowing ...


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I did some searching, and while I did not find much in the way of comprehensive and free resources that extend far beyond basic species counterpoint, I did find this page provides some helpful prompts: http://socrates.acadiau.ca/courses/musi/callon/3103-13/3113.htm Also, a good early refresher: http://www.gutenberg.org/files/16342/16342-h/16342-h.htm


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When writing for any instrument there are a few things to keep in mind : The range of the instrument How the instrument sounds in different parts of it's range The Dynamic Curve of the interments (how loud can it play in different parts of it's range) Articulation and techniques that the instrument can and can't do What is playable for a typical player and ...


1

@Shevliaskovic is correct. It's really up to what works best for you. Whenever you have an idea for lyrics, you should write them down. Whenever you find a harmony, melody or chord progression that sounds cool to you, write that down too. You can try to write harmony to match the words you have or write words to match the music you have. If you've written ...


2

Great question Dom. I think your best bet is to make sure that the two modes are distinct and separate. This is achieved through rhythmic decisions, register, counterpoint, instrumentation, and a number of other musical factors. If the lines containing the modes cross, the definition of each line becomes obscured, and therefore the harmonic contrast ...


7

That depends on you. Just write first what comes natural to you. If you grab your guitar/play piano and you see that you can work your way in a harmony you like, start with that. If you are thinking some lyrics without having any harmony, write them down. There isn't any specific order in which to do that. Usually when I write a song, I first write the ...


0

Music is art. Come up with a concept any way you want to, then make it happen! Maybe you want to portray a particular emotion. Perhaps you have an image in your head you want to represent. Perhaps you found a cool chord progression. However you start a song is valid. I don't think that's quite what you're asking, though. I think what you're asking is, I ...


1

Try Anvil Studio, it's free and probably has all you need for basic editing, and more.


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With modern techniques, there are almost as many methods as ideas Before technology we had just... Think it up, write it on paper Play it, write it on paper, then Perform it live, to as many people as possible Now we also have Play, record it. Think about how to structure it later. physically edit the audio into your preferred form, or Transcribe it, ...



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