how do you suggest we practice Free Composition? Do I use some of the previous Cantus Firmi, make my own, or find some chromatic ones? Should we do all the previous different species of counterpoint?
Albrechtsberger used a special chromatic CF in his textbook, but when Beethoven studied free composition in private lessons with Albrechtsberger, they used the same CFs as in the strict exercises, so I would say just go ahead and use any of the previous CFs and work through some of the species, florid 5th species being by far the most important.
@Jacob Gran Unrelated to the video content but seems like your video about passing chords is blocked due to copyright issue. Can you resolve that and reupload? Thanks
Ah, thank you for that; I wouldn't have known. Originally it was only blocked in Iran and North Korea, which didn't strike me as a huge problem. But I didn't realize UA-cam would add countries to that list without telling me. So yes, I will try to figure it out.
I don’t think I understand the whole tritone thing, so in a dominant 7th chord the 3rd and 7th make up a tritone and when a dominant 7th resolves they resolve by stepwise contrary motion to a 3rd or 6th. So by the implied harmony do you mean that tritones formed in two voices have to resolve as though they are part of a dominant 7th chord (by stepwise contrary motion to a 3rd or 6th)?
Perhaps this is the origin of why Beethoven were addicted to them. Actually a fugue B wrote when he was 12 (Woo 31) has some pretty solid dissonances (and strettos)
Thank you so much for posting these clear and interesting videos!
My pleasure; I'm glad you find them useful.
I love Beethoven's examples... thank you very much
Thanks a lot, Mr. Gran. Your videos are pure diamond!
Thank you!
how do you suggest we practice Free Composition? Do I use some of the previous Cantus Firmi, make my own, or find some chromatic ones? Should we do all the previous different species of counterpoint?
Albrechtsberger used a special chromatic CF in his textbook, but when Beethoven studied free composition in private lessons with Albrechtsberger, they used the same CFs as in the strict exercises, so I would say just go ahead and use any of the previous CFs and work through some of the species, florid 5th species being by far the most important.
Ah yes, licence is what I needed.
Oi, you got a loicense for those tritones?
@Jacob Gran Unrelated to the video content but seems like your video about passing chords is blocked due to copyright issue. Can you resolve that and reupload? Thanks
Ah, thank you for that; I wouldn't have known. Originally it was only blocked in Iran and North Korea, which didn't strike me as a huge problem. But I didn't realize UA-cam would add countries to that list without telling me. So yes, I will try to figure it out.
I don’t think I understand the whole tritone thing, so in a dominant 7th chord the 3rd and 7th make up a tritone and when a dominant 7th resolves they resolve by stepwise contrary motion to a 3rd or 6th. So by the implied harmony do you mean that tritones formed in two voices have to resolve as though they are part of a dominant 7th chord (by stepwise contrary motion to a 3rd or 6th)?
Precisely. They will resolve as if they are the chordal third and seventh of a dominant seventh chord, or an applied dominant seventh.
Jazz 101
👏
Perhaps this is the origin of why Beethoven were addicted to them. Actually a fugue B wrote when he was 12 (Woo 31) has some pretty solid dissonances (and strettos)
🙂👍
Jazz in the 18th century, lol.