Wow. With one stroke, you have demolished many of my own attempts at counterpoint with the "what not to do" example. It's almost clairevoyant, like you were talking directly to me. But this is why I signed up, and why this is such a valuable resource. Thank you! :-)
Great lesson Alan, I feel this is where we start to see the musical value of counterpoint with the introduction of motives. All the lessons are so helpful, thanks!
Not a fan of the descending octave leap in the soprano on the last cadence. Landing on the 5th that way is distracting and unsatisfying. It does not sound like a natural part of that line.
@Alan Belkin well I see them more than I hear them, but for Bach that question is irrelevant. There are no exceptions on that rule, apart from, maybe, between sentences.
Thank you si much. Your ability to teach is very evidente. You know where to put our attention. there are many questions I would like to make to captuer other aspects. It is a pity that is not possible. Thank you.
I actually liked the second one better, I personally thought it was more interesting haha. It might be the poor vocal samples that make the repetition sound awkward.
The first one definitely had great potential if some of the more glaring mistakes were fixed (the tenor entrance, rhythmic variety, functional clarity, suspensions). I think the cadence sounded good - sure the abrupt rhythm change is a bit awkward and could be more gradual, but overall the slowing down of the rhythm seems more fitting. But the second second variant went in another direction and although it shows better technique, it sounded more uninspired and tamed. Of course this video is all about showcasing certain techniques so the second one is more adequate.
Wow. With one stroke, you have demolished many of my own attempts at counterpoint with the "what not to do" example. It's almost clairevoyant, like you were talking directly to me. But this is why I signed up, and why this is such a valuable resource. Thank you! :-)
Great lesson Alan, I feel this is where we start to see the musical value of counterpoint with the introduction of motives. All the lessons are so helpful, thanks!
Thanks, Prof. Belkin!
I love the little animations in this one!
CATS.
Not a fan of the descending octave leap in the soprano on the last cadence. Landing on the 5th that way is distracting and unsatisfying. It does not sound like a natural part of that line.
Parallel fifths!!! In the first example, bar 10, between t and b!!!
@Alan Belkin well I see them more than I hear them, but for Bach that question is irrelevant. There are no exceptions on that rule, apart from, maybe, between sentences.
great - thank you again -
Thank you
Thank you si much. Your ability to teach is very evidente. You know where to put our attention. there are many questions I would like to make to captuer other aspects. It is a pity that is not possible. Thank you.
I do give private lessons.
@@alanbelkin9272 I want to learn from u sir. Especially on Some Fugues
First composition was amazing, the last one was by comparison not so amazing. I enjoy d the video though.
I actually liked the second one better, I personally thought it was more interesting haha. It might be the poor vocal samples that make the repetition sound awkward.
Pretty sure the topic of this video isn't "The Best, Most Amazing Thing You've Ever Heard". Perhaps that's on your channel?
The first one definitely had great potential if some of the more glaring mistakes were fixed (the tenor entrance, rhythmic variety, functional clarity, suspensions). I think the cadence sounded good - sure the abrupt rhythm change is a bit awkward and could be more gradual, but overall the slowing down of the rhythm seems more fitting.
But the second second variant went in another direction and although it shows better technique, it sounded more uninspired and tamed. Of course this video is all about showcasing certain techniques so the second one is more adequate.