Counterpoint # 7 - 5th species

[@misi1979]

Such a great series of introducing counterpoint...Thank You Mr Belkin for the effort in making this series and for sharing it!:)

[@DeGuerre]

I like the term "cockroach rule"! I'm going to use that from now on. (I have written SO MANY bad melodies that snowball in that way. It wasn't until I read Schoenberg's book on composition that I understood what I was doing and how to fix it.)

[@jorgedavid8481]

Thank you so so much for all your videos. I had read and watched many counterpoint books and videos and never found anyone explaining it in such a clear, entertaining and practical way! I was wondering, in the last examples from 8:42 there is a 6-5 suspension on the second bar. It is not listen on the suspensions list from the fourth species video. Would not that suspension imply two different chords during the second bar? I am wondering whether it is a common suspension or it's better to use it with care. Thank you so much for all your effort!

[@jonasvalfridsson]

What the… The map at 09:15 is of the town in Sweden where I grew up - Jönköping. What are the odds of a canadian using that? O.O

[@alanbelkin9272]

The guy who does the graphics is married to a Swedish woman. :-)

[@jonasvalfridsson]

Alan Belkin Small world! If they are living there, tell them my new orchestral work is premiered 3 november. 😂

[@LoveRonnelid]

Another Jönköping born fan represented! :)

[@brooklyn_stafford]

What is the intro song you always use?

[@mccormackmusic]

In the example at 3:06 , shouldn't the F in bar 4 resolve down?

[@bachagain1685]

It's a dissonant neighbor note on a weak beat. The consonant G that follows is able to make up for it.

[@מתןלוגסי-ה2י]

You are teaching very good, its helps a lot, thenk you! :)

[@MariadaPenhaRothschild]

very well ********************** thank you

[@Frode5]

But what exactly are the "rules" for introducing sharps and flats in the melodic lines?

[@hiphop4eva374]

It's just harmonic/melodic minor.

[@louisvalencia5244]

Nor Fux nor Goetschius could explain with such clarity. Thank you!

[@junleng6301]

Hello! I have some questions to ask: - At 3:45, it's mentioned that the dotted half notes help the quarter notes to begin on a weak beat, which helps to maintain rhythmic fluidity. But I find "rhythmic fluidity" to be a rather subjective concept - I don't see why you can't start the quarter notes on the on-beat in Bar 3? What would be wrong with that? - At 6:00, for example f, what do you mean when you say "the G-sharp does not resolve the High C?" What would be a note that resolves the high C then?

[@zavidlan6166]

By rhythmic flow in counterpoint it’s usually consider that the longer note value needs to be in a strong beat, the original one where B and D are in quarter note and B as a quarter stays in a strong beat then immediately has a leap to D, that’s not a good sign in here. It might be good on a piece of music, but remember we’re in counterpoint, and it has a much restrictive rule than just putting a random argument 2nd like any Mozart pieces. For the C, that C should just not be there, the G sharp and then the large leap creates a bump like he says in the video. Even with the interval between B and C with a major 2 and resolve into Major 6 (which you should, because 2 is dissonance and 6 is consonance), the C is just really like an extra and it just hangs there without any linear connection towards G sharp. How it can be fixed is if you just write a new counterpoint line with B instead of A like the video shows, but that’s a different story.

[@shirishmalhotra3653]

Thank you Alan!

[@lidanysfilms]

Thank you so much😊

[@fayehsu8689]

i love couterpoint

[@trysubscribe25]

I love countypoibt too

[@jessb.6562]

Is this two part counterpoint?

[@trysubscribe25]

Yes

[@trysubscribe25]

3 part will be taught later

[@fayehsu8689]

faye