@@DrKatiMeyerMusicTheory It has nothing to do with 21st century. Rules are frequently observed and broken to great effect in early music. The point was that theory is about establishing a framework and composition is about iterating on it artfully.
Do the rules of motions (direct, contrary, oblique) apply from down beat to down beat(as if the second note on the upbeat does not exist) , or must orient themselves to the upbeat note and use the appropriate motion from the upbeat to down? I am aware of parallel perfect consonances on downbeats being bad, but I am not sure if that is due to their special nature of being perceived as a diminution. I hope that was at least a little understandable. Please help🤔🤔
Is it general practice to consider a Perfect fourth a dissonance? Or is this only for the specific cases of species counterpoint? In harmony I was taught that I IV and V and VIII are perfect consonances, III and VI imperfect consonances, II and VII dissonances.
I'm struggling to upload an image with the right ratio. If you send me your email address, I'll send you a screen shot of a good example of 2nd species. Thanks!
That’s a good observation. I labeled the compound intervals as simple intervals for clarity and encourage students to do the same for precision when writing their own counterpoint. The intervals are the same by octave equivalence, so remembering which intervals are consonant and which are dissonant is easier when you only have one set to remember.
Thank you, I found all your videos on counterpoint verrrry helpful!
My theory teacher tells me to follow these rules while my composition teacher tells me to break them
The rules pertain to your understanding of Western Art Music, whereas your new 21st century composition has no limits!
@@DrKatiMeyerMusicTheory It has nothing to do with 21st century. Rules are frequently observed and broken to great effect in early music. The point was that theory is about establishing a framework and composition is about iterating on it artfully.
@@hugoclarke3284 That's why it's called music theory and not music fact.
You learn the rules to break them and create your own sound
Thank you, Dr. Meyer!
Thank you!
Great channel.
Hello. Thank's for this
thank you from Russia
helpful video thank you!
Very helpful video thank you
Awesome! Can’t wait for the third species! 🤓
Its been a while, huh...
Do the rules of motions (direct, contrary, oblique) apply from down beat to down beat(as if the second note on the upbeat does not exist) , or must orient themselves to the upbeat note and use the appropriate motion from the upbeat to down? I am aware of parallel perfect consonances on downbeats being bad, but I am not sure if that is due to their special nature of being perceived as a diminution.
I hope that was at least a little understandable. Please help🤔🤔
I may have gotten some more clarity but help is still welcome.
Dr. Kati Meyer... yes thank you that was very helpful.
Is it general practice to consider a Perfect fourth a dissonance? Or is this only for the specific cases of species counterpoint? In harmony I was taught that I IV and V and VIII are perfect consonances, III and VI imperfect consonances, II and VII dissonances.
Perfect fourth is a dissonance and it's the weakest of all dissonance
can you also make 18th C. chorale guidelines and rules?
I might be wrong but I think the m10 in the third last bar from Eb to G should be a M10
Please you have any videos about free contrpoint
am i crazy or is there a mistake in the 3rd measure? the Eb above the Bb is a 4th. Not a major 6th. And it leaves by leap. this isn't allowed. Right?
You’re not crazy! Good catch on that fourth and the leaping from a dissonance!
She made the same mistake already in the previous video.
@@MartinSchommer To err is human, especially when making counterpoint videos!
Could you show us what the correct answer would look like?
I'm struggling to upload an image with the right ratio. If you send me your email address, I'll send you a screen shot of a good example of 2nd species. Thanks!
Noob here, you have compound interval in the third measure, but in the 1 and 2 measure i don’t see compound signatures. Thank you
That’s a good observation. I labeled the compound intervals as simple intervals for clarity and encourage students to do the same for precision when writing their own counterpoint. The intervals are the same by octave equivalence, so remembering which intervals are consonant and which are dissonant is easier when you only have one set to remember.
There are problems with measure 5 and 6 on the downbeat!
Yes, the parallel octaves are not allowed.