How to Compose 1:1 Counterpoint || Tonal Voice Leading 1

[@anatomicallymodernhuman5175]

They don’t teach audiation because they can’t grade it. Same has happened in many fields. And thus did accreditation destroy education. You’re a good man for valuing the real over the measurable.

[@davidgerowmusicchannel]

Your speaking style makes it very easy to pay attention to what you're saying. Love it, thank you.

[@JacobGran]

Thanks for watching!

[@Guitar_Wolf]

Edit: Audiation exercise? Wow, thats worth the price of admission alone. At first I thought this was a bit dry, but I was drawn in so deep as it went on. A nice, mellow contrast to the "hyped up" style of most KZbin videos. Its like a meditation mixed with a lesson... beautiful! Thank you so much!

[@JacobGran]

I expected these videos to get like 12 views, so I designed it to be a resource for teachers or people who want to learn independently. I made it very dry on purpose, and I am still surprised so many people watch it despite that!

[@Guitar_Wolf]

@@JacobGran Haha yeah all good man. The information is gold, honestly. And you put it across in a way that is easily digestible, yet still very thorough and correct . I'm already on suspensions 1. When i strike it rich with my songs, im going to load up your Patreon ✌🏻

[@spicysaewookkang]

Thanks! I have no idea why KZbin decided to recommend this to a random Korean student who knows absolutely nothing about composition, but anyways I watched the entire thing and I really enjoyed it as a music lover. I never knew music composition is done this precisely and carefully. I think I'll watch more of your videos and expand my knowledge about music composition! Thanks for giving me a first step!

[@neolyth]

this comment is amazing

[@iggykarpov]

would it not be most incredible if this random event made you change your major and become a composer?👍

[@stephenbrennan4178]

Great video, thanks so much Jacob, for anyone else working through the exercises in the PDF, I wrote out some of the notes for lesson for reference: Given Melody - Cantus Firmus (8 to 12 notes) ***************************** The fewest possible notes that still give the impression of complete compossion (that can't be broken into seperate parts) Want to be able to split attention between two melodies Melodic Fluency - Melody takes very little mental effor to keep track of - Mostly Stepwise (Allows prediction of changes) - Leaps are made by Consonant intervals Consonant Leaps: - 3rds - 4ths (Except for F to B) (4 to 7) - 5ths (Except for B to F) (7 to 4) - 6ths - Octaves Dissonant Leaps (Avoid) - 7th - Aug - Dim - >Octave For any large leaps, they should be followed with a 'Recovered' movement in the opposite direction (Larger than a 3rd) and more important for upward movements than downwards (What goes up, must come down) The Cantus Firmus always begins and ends on the root ***************************** Intermediary goal of Melodic Motion, which is far away from the root to ensure seperation from the root notes which begin and end the passage (The Highpoint Consonant) When a counterpoint is written above the Cantus, it can begin on scale degrees 1, 3 or 5, if below the cantus it must begin on 1 The secret to an interesting counterpoint comes from the way the two melodic curves interact, not from either melodies on their own Cantus Firmus should not use tone repeatitions, the counterpoint can, but it should be kept to a minimum ***************************** Categorization of counterpoint notes in relation to the Cantus Firmus: Perfect Consonances - Unison, 5ths, 8ve (Too Stable, avoid using twice in a row, unison only at the start or end) Imperfect Consonances - 3rd, 6th, 10th (Most useful for this exercise) Disonant Consonances - 2nd, 4th, 7th (Unstable, gives the impression of repelling the other melody line) ***************************** Types of Motion: 1. Contrary Motion 2. Direct Motion - Parallel Motion (Same interval in both voices) - Use Sparingly - Simular Motion (Same direction, different interval) 3. Oblique Motion (One voice remains static) ***************************** 1:1 Counterpoint Rules: 1. No Dissonant Harmonic intervals 2. No Direct Motion to a Perfect Consonance ***************************** Counterpoint BELOW the Cantus - Counterpoint must start on the root note - Instead of aiming for high note as the goal, aim for a low note ***************************** Tips for Counterpoint creation - As counterpoint needs to end on root, place this note first - Use contrary motion for the second to last - Avoid starting the counterpoint with either - a 3rd (too close to the first voice) - Anything higher than a 10th - Compose in medium sized chunks as opposed to one note at a time - Don't have the high points in both voices occur at the same spot *****************************

[@anaghshetty]

Thank you so much, this is really helpful!

[@pjbpiano]

Not all heroes wear capes! ❤

[@kc_jones_gaming]

Finding gems like this has saved me thousands on lessons and school 😂

[@oneirdaathnaram1376]

The audation exercise has implanted into my inner voice an endless composing of melodies. I can't stop it anymore.

[@brianhanington470]

13:10 “We may not use dissonances in this exercise. You have to unlock them by getting to the next level.” Brilliant. I laughed out loud. Outstanding videos. Thank you, sir!

[@JacobGran]

Glad you enjoyed it!

[@lexruptor]

Don't you just love it when the final level has an additional level for no real reason? Me too.

[@99zxk]

I remember reading that Beethoven studied with Salieri for a time. He had a lot of influence on the next generation of composers. It's a shame that Amadeus has created a bad view of him within our modern culture.

[@paulquantumblues3599]

The view that that movie cast on him was terrible. What happened was Salieri opposed the monarchy at the time, and in retaliation they destroyed his reputation. He was actually friends with Mozart (they composed music together) he sent his daughter to study piano with Mozart, and while Mozart traveled throughout Europe performing he actually performed some of Salieri's music. Whenever I hear Salieri (even if it is a piece I have never heard) I always know that it is him. He had a style all his own. It's sad that it's only been recently that his music is being revived. All that we can take from what happened to him is that politicians sure do suck!

[@Tempusverum]

@@paulquantumblues3599 Salieri’s acting was comedy gold

[@tdswen1]

@@paulquantumblues3599 So the Court Composer opposed the Monarchy? Interesting.

[@paulquantumblues3599]

@@tdswen1 Yes, that's what I read. I believe that that is even written on his Wikipedia page. Yes, he and Mozart were somewhat rivals when Mozart first arrived in Vienna, but Mozart was new to Vienna. So, there was going to be competition between him and the established composers, but eventually Mozart and Salieri became friends. Salieri even got Mozart composition jobs, and conducted some of Mozart's works, and vice versa. Revisionist history sucks!

[@vonpfrentsch]

@@paulquantumblues3599 What did you read? Which language? Everything in english is second choice, only literature in German from solid sources is an evidence, a - bad - movie, from the historic standpoint, is not a clue. Please, do yourself a favor, don´t quote Wikipedia as a source, it´s ridiculous.

[@mitchdepalm]

“You have to unlock them, by getting to the next level” Mans made a video game from studying counterpoint 😂😂😂

[@paulquantumblues3599]

Yeah, I thought that reference was awesome. I'm going to use it with my students.

[@ostromogilskaiamaria5268]

👍👍👍

[@paulsutton5713]

Is there an app yet?

[@nikitakipriyanov7260]

Use the whole Fux's book as the game scenario

[@josedanielmurakamiyano6646]

@@ostromogilskaiamaria5268 ññ la qqqñq

[@Trash-Beats]

You are the best teacher young man I’ve learned alot here in Zimbabwe by your videos

[@paulquantumblues3599]

Thank you for this. I graduated with a masters in music from Stony Brook University, and for some reason they skipped over this. I can write Bach Chorales with ease, analyze all sorts of insanely hard pieces, but I always felt incomplete because I never learned this. It may take some time, but I am going to go through all of these videos. Thank you so much!

[@JacobGran]

You're welcome! I had a similar experience in my music education, which is why I become obsessed with historical counterpoint for a few years and ended up making these videos.

[@anatomicallymodernhuman5175]

Same. It's crazy to teach Schenkerian analysis to someone who hasn't even had basic counterpoint yet.

[@Reino_X]

Bach is the master of counterpoint.

[@musicfriendly12]

Yeah, Bach Chorales ARE counterpoint fundamentally.

[@ernestogasulla7763]

Just curious, how do you "write Bach chorales with ease" if you don't know 1:1 counterpoint?

[@sugarfree1894]

I studied to get into uni to do music and was SO lucky to have a teacher who was able to teach me this stuff; it's optional these days in the UK. It really gave me a firm foundation for all subsequent compositional work.

[@tavinmj]

This is god tier content. Thank you so much.

[@JacobGran]

You’re very welcome! Thank you.

[@Songwriter376]

Did this in music theory class many years ago. It was 5 part counterpoint and our teacher had different students singing each different part…it sounded astounding.

[@pierfrancescopeperoni]

I've been looking for series about counterpoint on KZbin for a while, and never been stratified until this.

[@JacobGran]

Thank you!

[@quailstudios]

When I studied counterpoint this was the High Point of my musical education. But counterpoint only made sense after I studied harmony for two years. Counterpoint is absolutely essential to good music composition. Good job my friend.

[@cambrialayton514]

I am two minutes into your video and I am already about to cry tears of relief because I had only taken one semester of music theory before I decided to try out the contrapuntal techniques course. The only prerequisite was diatonic and chromatic harmony, but “A Practical Approach to 18th Century Counterpoint” is full of words and concepts that I’m not familiar with and there are so many of them that I feel like I have to reach for google every two sentences. I’ll reply to this comment after I’ve watched the full video, but I’d just really, really like to thank you for putting this out here.

[@cambrialayton514]

You are an excellent teacher and every bit of information is presented in an easily-digestible way, using metaphors when appropriate and offering definitions for terminology that may be unfamiliar. You did a really excellent job with the instructional portion of this video and I will now go ahead and work on the assignment. Seriously, thank you for making this.

[@zlapidus]

These videos are really phenomenal -- as a jazz pianist I never got this in my curriculum in music school. Although I've done exercises to try improvise over tunes in what amounts to naive, rules-free "free counterpoint," I've always wanted to get beyond my clumsy, mostly instinctual understanding of the way counterpoint actually works and these videos are awesome and an amazing labor of love. Looking forward to following along with all of them. Thank you!

[@JacobGran]

Thank you!

[@drtejashmodi]

Is this video recommendation from KZbin like a level unlock reward for surviving 2020? Searched for such instructions and teaching but never found it before today! Thank you, teacher!

[@JacobGran]

Thank you, that is very generous!

[@alxleiva]

Calling Salieri a mediocre lunatic was all I needed to hear to subscribe to your channel.

[@WomboBraker]

where have you been all my life. This is amazing

[@tamed4171]

I did the composition homework you suggested. I think I followed all the rules, but even if I made a mistake I still understand all the concepts and I feel prepared to move on. I am looking forward to continuing and finishing this series

[@bogdiworksV2]

I'm not a musician or a music student, just a music lover, but you explained this real well. Thanks for putting it out there.

[@dickrichard626]

Just get a DAW and start messing around. 😅

[@carlosandres7006]

This video is gold. There isn’t another smooth explanation on the web about the subject, it’s easy to grasp if you are new to counterpoint. Thanks!

[@JacobGran]

Carlos Andrés glad you liked it!

[@stangoodspeed]

this is amazing, thank you for posting this so anyone has a chance to try to learn this for free

[@shellerwilliam4221]

Check the translation. It's the clearest and the best tutorial . I'v been working counterpoint for four years but at that time Internet didn't exists ....

[@mr88cet]

This is an awesome Counterpoint refresher! Thanks a bunch. I’m a Computer Engineer for a living, but waaaay back in the mid-late 1980s, I took the usual Freshman and Sophomore Theory and Ear Training. I’ll be retiring soon, and my #1 goal is to “phoenix” my Music life, including (if not especially!) composition. So, this sort of refresher is perfect! Thanks again!

[@redshiplanding]

It's great to be reminded of these fundamental ways to construct separate-and-yet-still-related musical structures that stand as both melodic and harmonic concepts. This makes me want to practice this kind of contrapuntal activity again. Thank you.

[@shayneoneill1506]

Your not wrong about the applicability in general of counterpoint. Most of the jazz greats also studied it, and even in rock and roll, Frank Zappa was a master of very advanced counterpoint (in his 'serious' orchestral he tended towards serialist atonal stuff, but with a very disciplined counterpoint), and he used it extensively in his prog-rock and fusion jazz compositions. This is the secret sauce folks.

[@JacobGran]

Oh man I haven’t listened to Boulez Conducts Zappa in years. Time to look that up again.

[@eddieisfiction442]

Look up Ted Greene

[@suhiihus]

This is the best Counterpoint tutorial I have come across with the right amount of analytics, sense and justifications which can shape up great counterpoints !

[@JacobGran]

Glad it was helpful!

[@idletimerap]

This was incredible. I have been introduced to all of these concepts separately but never had them woven together in a way that actually made sense to me.

[@JacobGran]

Thank you, glad you got something out of it!

[@jere3558]

This gotta be THE single best video regarding 1:1 counterpoint on youtube, that i've seen so far. Incredibly well structured, easy to understand and interestingly moderated. Thank you!

[@skronk8575]

i love composeing! im not good on the composing but now when i know this... i can FINALLY this

[@wolfie8748]

Perfect series , love to watch it all!

[@JacobGran]

Thanks a ton!

[@andyisacsson7503]

This is brilliant, after years of struggling with Fux, it’s opened up all the ideas for me- thank you.

[@lolobuggah2670]

I love this! Beautifully explained. Great rules! It's like solving a puzzle!

[@livpalma]

Best tutorial on counterpoint out there by far. Much clearer and much simpler than most books I own and had to read a gazillion times over and over again NOT to understand this fully. Cannot thank you enough!

[@monsterjazzlicks]

This video is so amazing. I never even knew of such a teaching system before. It is most excellently presented as well. I have watched it twice today but there are still many elements I failed to grasp. I think I need to spend more time with it . . .

[@neosannyasin8022]

Thank you very, very much, Dr. Jacob Gran! 🙏 Your videos and work are very much appreciated! 🙏

[@thepotatoportal69]

*Notes:* - Melodies must be fluent -- 3:08 - Stepwise motion is more fluent -- 3:59 - Leap by consonant intervals -- 4:31 - Leaps >3rds typically should be recovered. This is less important for downward leaps -- 5:07 - Ending and beginning on degree 1 is restful -- 5:59 - Melody must have peak a consonant interval from degree 1. This gives melody shape -- 6:44 - Counterpoints above given melody can begin on degree 1, 3, or 5 -- 8:17 - The interest comes from the interaction of the melodies 9:07 - Repeated notes allow listener to listen to other melody, but mustn't be over used 10:04 - No dissonant harmonic intervals may be used (7ths, 2nds, 5ths) 10:52 - Perfect consonances can't be used twice in a row because they ruin the flow 11:02 - Mixing up intervals creates a sense of variety 13:29 - Contrary motion creates most independence 13:50 - Direct motion creates less independence, especially parallel motion. Avoid long stretches of parallel motion - Oblique motion creates more independence, but listener stops paying attention to unmoving voice. Use only if needed 15:45 - Unpredictability and variety are important 16:32 - Direct motion mustn't be used to approach a perfect consonance 16:53 - A natural followed by sharp is an augmented unison 20:41 - Give melodies space 24:16 - Higher than a tenth is unideal 24:30 - Accentuate the shape of the melody by starting lower 25:37 - Make sure melodies don't reach high point at the same time 26:06 - Last things first, first things second, high things third, middle things last 27:20 - Filling the gaps after a leap makes it sound alright 28:30

[@Kitarraman]

I love counterpoint. I started studying it out of personal interest (I wanted to learn the fugue and needed to put down the necessary building blocks), and I've become more competent in writing singable melodies. Not only that, but I've also observed a general improvement in my musical taste. It's a pity that the composition teacher at the conservatory where I'm enrolled decided to make it an optional part of the composer's academic curriculum :\ Great video, BTW

[@JacobGran]

Thank you!

[@chessematics]

I came here also to be able to write my own Fugue

[@mohammadkharazi6598]

i couldn't find a counterpoint tutorial better than this thanks a lot man👍👏

[@JacobGran]

You're welcome!

[@maksimivanov5417]

That's incredibly useful, thanks!

[@oneirdaathnaram1376]

Oioioi, hats down! What an incredibly precise and well explained lesson that is! Not one word too much, not one word too few. And sooooo much of unlocked secrets to the art of polyphonic pleasant music! Even if I won't compose myself (lacking the time at the moment), it certainly will help me also understand the compositions I sing and play.

[@HumbleNewMusic]

Thank you Dr. Gran for all your lessons, tutorials...!! I'm learning a whole lot... Looking forward to more...

[@davidsummerville351]

Great video. I studied counterpoint a few years ago on my own. I'm glad according to your lesson I was doing it correctly! I just subscribed and look forward to watching all your videos. Thanks

[@JacobGran]

Excellent! Thank you.

[@lexiferenczy9695]

Thanks so much, this video is a blessing! I am long since obsessed with writing counterpoint but always lacked solid fundamentals, which I can now improve upon.

[@JacobGran]

Thank you! When I made these videos I hoped they would be used exactly this way.

[@balbino4]

Very very very very good! Thank you very much!

[@rubenfernando2457]

A pandemic masterpiece my friend. Where I live, this kind of knowledge isn't spread. Even the Fux's gradus ad parnassum isn't complete translated to my language. Luck me I studied english. Thank you Dr. Gran.

[@JacobGran]

You are very welcome!

[@MrMeap6]

Very nice explanation. Regarding Shubert's showing off, it may actually be more than just an invertible melody, since he actually just reversed the cantus firmus, with the exception of the two C# in the middle. Salieri's line: D E F D a e F D C# D, Schubert's counterpoint(s): D C# D F c#(d) c# D F E D.

[@JacobGran]

What a cool point; I hadn't noticed that partial retrograde! Alfred Mann argues that Schubert was really chomping at the bit to study advanced fugal and canonic techniques with Salieri, but Salieri only wanted to focus on the fundamentals of non-imitative counterpoint. Mann doesn't give this as an example, but it certainly supports his argument.

[@tonyping2262]

A really instructive and helpful video tutorial for first-year music students on music theory Counterpoint using a Cantus Firmus! It was really easy to follow along even as a second year student !

[@alainvosselman9960]

One time i thought about creating a jazz piece after playing many standards. I was thinking to use this approach as i don't even know about a good approach. Never knew this is actually used. Glad to come across this. I've already made a piece but i wanted it to sound richer in chords and voice movement. Thanks for making this kind of video.

[@christopherheckman7957]

Great video! I look forward to the rest of the series, as well as your other videos.

[@SergioRodriguez-zd6le]

Best teacher in conservatory.

[@willydeangelis699]

Fantastic video!! Please keep them coming. You're an amazing teacher, thanks so much for sharing the knowledge!

[@JacobGran]

Thank you!

[@1987emike]

Fux stated that the beginning needs to express perfection, so seeing Schubert's example you have given I am surprised that the starting interval can be anything other than a perfect consonance. That's something I learned from you. Great video!

[@JacobGran]

Yes, Fux makes it a rule to begin on a perfect consonance in 2-voice counterpoint (^1 or ^5), but with more voices he allows the inner voices to also start on ^3 to form a complete chord. Later composers like Salieri here allow it also in 2-voice counterpoint, so I just wanted to clarify that it is a later adjustment of the rule, not original recipe.

[@BigParadox]

This tutorial is exactly what I need. Very clear and easy to follow. Thanks.

[@JacobGran]

You're welcome!

[@danielultra9695]

This is great content. Thanks for putting this up.

[@TonyByte]

Suspiciously, that Antonio Salieri image looks a lot like F. Murray Abraham and I've never seen them in the same photo together. 🤔

[@authenticmusic4815]

😲

[@christopherheckman7957]

The comment was meant in jest, but I just had to check out the dates. Salieri died in 1825, and the first photograph was taken in 1826 or 1827. So if you had a picture of Salieri, you'd have a picture of a ... [slips on sunglasses] ... DE-composer.

[@rogerramjet6615]

When I studied counterpoint, we were taught in the style of The Gradus ad Pernassum by Johann Joseph Fux. This was the book used by Mozart, Beethoven and many other great composers. There are a few differences between Salieri's and Fux' method. Here are the rules taught by Fux which are different. 1. The piece must start on a perfect consonance ie. 8va or 5th when counterpoint is above the cantus firmus and only 8va when it is below. The 3rd is forbidden. 2. A perfect interval may be approached by direct motion provided that the top note in upward motion or the bottom note in downward motion moves by step. If both move by leap they produce exposed 5ths or octaves. 3. As you have pointed out salieri's acceptance of the dim 4th, dim 5th, aug 4th is forbidden by Fux. 4. At the 18 minute mark, the first two notes overlap (not to be confused with voice crossing) where the bottom voice leaps above the top. This is also forbidden kzbin.info/www/bejne/Z5_TfoCfYriAsJo&ab_channel=5minutemusictheory You have done a great job coveringl the important aspects of this style. I think Salieri's canti firmi aren't great because they return to the same note too often. In the D minor example, out of 10 notes 4 of them are the same tonic.

[@matthewking1873]

This is a superb counterpoint lesson. Bravo!

[@LuukSwinkels]

This is the best playlist for big brain theory I have ever seen holy flip

[@carlosrodriguez414]

I can't imagine a better video of it's kind in understanding this topic. Much Thanks.

[@JacobGran]

Thank you very much!

[@anthonyjp87]

Cantus Firmus Mostly Stepwise Leaps: Consonant (3,4,5,6,8) Dissonant Leaps(5, aug, Dim, >8) Begins and Ends on 1 Harmonic Intervals: Perfect Consonances: Union/5 Imperfect Consonances: (3,6,10) Dissonant (2,4,7)-good for voice leading indepence, but dont use untill level II. Contrary Motion is Best Direct Motion: --Parallel Motion: same Direction by Same Interval --Similar Motion: Same Direction by Different Interval --Oblique: One motion moves and the other remains the same. Rules No Dissonant Harmonic Interval No Direct Motion to a Perfect Consonance Analytic Diagrams: -Dashed Slurs connect repeated toans -Solid Slurs connect consonant leaps -Label Harmonic Intervals

[@sacrumsonus8548]

Thank you for this content. I know you hear it all the time but this is so incredibly useful and inspiring.

[@flopasen]

thanks for mixing the theory with the art and ensuring that the student has vision of a pragmatic approach

[@alexismontel2084]

Very great tuto , Counterpoint ways are not easy to explain clearly, congrats from France 👍😉🇫🇷

[@JacobGran]

Thank you!

[@rodrigomino6426]

Thank you so much Dr. Gran for such a great video... by far the best lesson on counterpoint on youtube..!

[@JacobGran]

Glad you like it!

[@jz4901]

Great video and presentation! Such a clear breakdown of a tough topic. Your analysis of the examples was great, and added to what I was missing from Fux. I'll work through this and then re-apply your thoughts to Fux part one. And your insistence on audiation is **just killer** and is so necessary. Thank you very much! (ps - You wrote in another comment that you expected this vid to get 12 views. Closing in on one million. Well deserved)

[@Mezilesialan]

I am very pleased because I am now learning to compose a second voice to the song melodies I play. I shake your hand . Thank you. Alan

[@paulmdevenney]

why does this only have 68K views? Excellent clear presentation. Fantastic work

[@JacobGran]

Thank you for the kind words. But within the last ten hours it has shot up to 87k now... I don't know what the KZbin algorithm is doing but I like it.

[@oli__lange]

thanks for the instructional videos. even though it's counterpoint, you can apply the rules to rock and metal riffs. since i know the rules, my riffs seem much more musical and catchy.

[@craigjohnson6008]

Thank you very much! Referencing Fux's, I noticed "...from the tenth bar to the eleventh, you have brought together both voices from a tenth into and octave, leading them stepwise, the upper part down and the lower up. This octave, which is called battuta... is prohibited. (The Study of Counterpoint, JJ Fux, p. 37) At 28:16 the notes appear to move in that direction. Is there something that comes before or after that invalidates that rule? Kindest Regards!

[@JacobGran]

Excellent question: I've been waiting for someone to ask me this, so forgive me for info dumping. Yes, these are the exact same notes of the example in Gradus, but I do not consider it an error. On the next page, you will notice that Aloys himself admits that he does not understand the reason for the "battuta" rule, or why it was considered poor by the old Italian masters, and he leaves it up to the reader to decide how seriously to take it. Cherubini and Jeppesen seem not to mention the rule at all in their textbooks. Albrechtsberger would not have considered my exercise to be an example of the battuta, since his definition requires one of the voices to leap (similar to the fifths that Aloys shows at the bottom of page 38). Notice that Joseph's tenth in measure 10 of the exercise is preceded by a large leap from measure 9, which may have played a role in Fux's identification of the passage as a battuta (compare with the example below). Finally, Schenker was of the opinion that the battuta only applies in second species, because in first species there is no distinction between upbeat and downbeat ("thesis" or "battuta"), and even then, only after a leap in the counterpoint voice, just like Albrechtsberger. Here is one of the examples given by Schenker: Ctpt: | C A | G || 5 10 8 CF: | F | G || And I agree with Schenker that the main reason this example is poor has nothing to do with the voice leading, but the poverty of harmony associated with the bare octave to begin with. The "battuta" error occurs very regularly in real music written for more that two parts, and in a two-voice second species exercise one could always find a better solution than this one (for instance, the countermelody could have gone : | C D | B ||).The other examples of battuta octaves and fifths are poor because of the imbalanced movement between the two voices (large leap vs step) leading into the perfect consonance, but the example I composed in this video does not strike my ears as at all unbalanced.

[@XYZeNxghtmxre]

Gotta say I’m not in love with the sound “battuta” creates but i see nothing wrong with it.

[@RinzePrins]

Thank you for asking, I had the exact same question. The battuta in this video, as Jacob Gran has pointed out in his answer, didn't strike me as unbalanced either, yet still I feel like writing a battuta is a schoolboy error.

[@MrKittles1123]

Fantastic content. This is so thorough and step by step, and also very well-paced. It’s everything I want from such a tutorial, and nothing more. I greatly appreciate this, and am about to begin the follow up! Thank you.

[@JacobGran]

Glad you like it!

[@oliver-shi]

praise the youtube algorithm for leading me here!

[@josemarquez950]

Thank you for making such a lucid and generous explanation.

[@JacobGran]

You're very welcome! Glad it was helpful.

[@jz4901]

Hello Jacob, are there example answers anywhere for the keeners among us who have tried to do the homework? I'm having trouble with the 2nd counterpoint below the 2nd cantus firmus in Am. Cheers!

[@maxponsetis1948]

absolutly clear and precise thanks for sharing blessings from France

[@JacobGran]

Thanks for watching!

[@itsgoubie]

Thank you, thank you and thank you. Exactly what I was looking for, explained exactly the way I wanted for it to be explained.

[@JacobGran]

Glad it was helpful!

[@itsgoubie]

@@JacobGran still helpful 6 months later and I'm sure it'll still be helpful 6 months from now

[@boyisun]

Thank you Dr Gran! Great video! I found that in different counterpoint classes and counterpoint textbooks, the rules for Species counterpoint are always little bit different. For example, I was taught that in all five species of Fux's strict two-part counterpoint, the first harmonic interval of an exercise can only be a unison, a fifth or an octave. So I wasn't allowed to start with a third like in 8:28 . I was also forbidden from using repeated notes like in 10:09 , since it might interrupt the flow of melody. I was also taught to avoid too many leaps or skips in a row. So B-D-G-B at 9:44 wouldn't be ideal. Voice-crossing in 18:02 (the first two semibreves) was also not allowed in my class. Segment repetition such as the repeated D-C#-D-F at 21:17 was also needed to be avoid if possible. We also had some horizontal rules about melody writing. For example we couldn't use any melodic intervallic diminution of a tritone interval such as F-G-A-B at 31:18 . Our Cantus Firmi were given in the six church modes (but no Locrian) instead of the natural major and harmonic minor scales. And we were taught not to raise the seventh scale degree in any minor modes except when the seventh degree is the penultimate note of the phrase.

[@JacobGran]

孙博一 I’m glad you enjoyed the video. I’ve been exploring historical counterpoint textbooks for the last year, and I was surprised how much variation there is in the “strictness” of strict counterpoint. In this video I tried to convey which are the “hard” rules (no dissonances) and which rules were softer (we should avoid note repetitions, but they are not forbidden). I also tried to summarize the reasons why the rules are the way they are. It felt weird for me to allow the counterpoint to begin on ^3, but I decided that it doesn’t interfere with the goal of what we are trying to teach, which is tonal voice leading. Plus when we reach three voice counterpoint, we will be able to begin on a complete triad. The ecclesiastical modes also don’t add anything towards achieving that pedagogical goal, and the majority of textbooks after Fux base their instruction in major and minor.

[@boyisun]

Hi Dr @@JacobGran, Thank you for replying me! Is it possible that Schubert was not writing strict counterpoint? I've only discovered your channel today. So I'm a very new subscriber to your Channel, and I've just found out that you've made a series of video on species counterpoint on your channel before. For this new series of video, are you going to teach freer counterpoint (such as the sort of counterpoint used in Romantic period music)? And is that the reason why you chose to use Schubert's writing instead of someone from Renaissance or Baroque period such as Fux or Bach?

[@JacobGran]

孙博一 Yes actually! In this new series, which may take a while, I’m going to go through combined species counterpoint in three voices and then also harmony. The goal is to explain tonal voice leading, everything from Bach to Brahms, so I’m trying to stay in the middle between strict and free counterpoint. The other counterpoint videos I made only went through 2 voices and were based on Fux’s strict approach.

[@aum1083]

02:22 Sorry, but that's not an image of the real Antonio Salieri! That's actor F.Murray Abraham dressed as an old Salieri (from the Movie "Amadeus")!

[@annmanning1655]

What a fascinating video,although a little out of my depth, what I’ve learned was enlightening,thankyou

[@mariavilla4538]

Love this video! Easy to understand and apply :) Thank you for share your knowledge with us

[@Piranesi-gc8gn]

This is my favourite yt channel thank you

[@JacobGran]

Thank you!

[@caterscarrots3407]

I like the term 1:1 counterpoint better than First Species because it explicitly shows the ratio. Regardless of whether or not the Cantus Firmus is whole notes, half notes, quarter notes or some other value, the key thing is that the other voice has the same ratio, it's 1:1.

[@Hwyadylaw]

The two terms don't have exactly the same meaning though. First Species is a subset of 1:1 counterpoint.

[@caterscarrots3407]

@@Hwyadylaw That may be, but what he's talking about here is what most would say is First Species. And I'm saying that I prefer when they explicitly say the contrapuntal ratio over the species model that is the default for teaching counterpoint. I mean 3:1 counterpoint for instance is generally disregarded in counterpoint studies or if it is mentioned, it's as a subset of Second Species, which isn't fair. And he doesn't do either of those things.

[@user-ms3yt3sq5h]

カウンターポイントの理論体系に興味深い内容が多々有ります、勉強法を教わりありがとう御座います。

[@LeDrummerDu88]

If only i saw this video 10 years earlier... !! Thanks man

[@JacobGran]

You're welcome!

[@PensieroMetamofista]

Is your method of teaching counterpoint taken from gradus ad parnassum?

[@seraphimdunn]

I can relate to Salieri. I understand from personal experience what it is like to not kill Mozart.

[@manikraina2154]

Beautiful lesson.Really like the way the motion of the melody affects an overall change in emotion too.While composing I constantly find a challenge to naturally come up with a phrase that feels complete and this solves that to a great extent.Thank you for your time and effort.

[@gregorygow5445]

Thank you for this tutorial! I played one of The Counterpoint 1:1 Melodies and it felt awesome! I took Harmony Classes in College Of San Mateo so this video was just to refresh myself on the things that I’ve learned in that class! Thank You so much!

[@southpark5555]

This certainly is indeed a very good counterpoint tutorial. I think I agree with Trey ---- it probably is the best counterpoint tutorial. I've seen quite vague videos before about counterpoint. This one makes sense for sure. Thanks very much Jacob. The part at 18:34 - mention of 'mediocre lunatic' is somewhat harsh.

[@JacobGran]

Thank you. And I agree that calling him a mediocre lunatic was very harsh. It was intended as a joke about the depiction of Salieri in the movie Amadeus, but I didn't make that clear enough. The real Salieri was a master composer and, as far as I know, well liked by everyone.

[@southpark5555]

@@JacobGran haha! No problem at all Jacob! Thanks for mentioning the link to the Amadeus movie!!

[@irenewills3638]

I understand what never understood when I was taking counterpoint as a vocal student! Thanks!!

[@JacobGran]

You're very welcome!

[@PedroMansilhaBranco]

Exactly what I needed. Great work.

[@armansrsa]

When you say the leap from the F to C# is a dissonant dimished 4th, this interval is diminished when written but it is also enharmonically equivalent to a M3 interval so perhaps that is why it does not sound too bad and also perhaps why it was allowed. In fact, I would say that a dimished4th is not a dissonant interval since how can it be if it is the same as a major 3rd.

[@JacobGran]

The ear keeps track not only of the absolute distance between two notes (like the four semitones in this case) but also keeps track of the scale degrees. Any C (sharp, flat, whatever) up to any F is going to be some kind of fourth, since there will always be two scale degrees in between - D and E. Diminished fourths are only the same as M3rds in terms of the number of semitones; they are different in how they lie within the diatonic scale.

[@tilkifox7918]

The context is very important. That's why there's a difference between an augmented 6th chord and a dominant 7th chord, even though they have the same number of semitones in between. For example if I play a chord consisting of C, E and A sharp, and resolve it with a 2nd inversion E minor chord. it sounds very different from playing C, E and B flat, and then resolving it to an F major chord.

[@kenkinnally6144]

@@tilkifox7918 Yes it sounds different because it is a different chord progression. The enharmonically identical C E A# and C E Bb in your example each land on a different next chord. It could be argued that until that destination is reached, they sound the same. But of course whatever has preceded them gives a context, and that precedent has already defined what diatonic scale we are in. But that seems more intellect than hearing. It's not till the chord after that the C E A# or C E Bb gets truly defined perhaps? Intention and context seem to matter. It reminds me of discussions in art class years ago about what is the difference between a naked person and a nude. Or Marcel Duchamp's observation that it is the viewer who completes a painting. Sometimes where or what a thing is leading to winds up defining what it is.

[@tilkifox7918]

@@kenkinnally6144 yes, what came before that chord would usually give some context. It would make you expect or anticipate a certain resolution to that chord. But sometimes the composer might surprise the listener with an unexpected resolution.

[@otv88]

Thanks so much for the video. By far the best explanation I’ve seen on the Tubes. Learned so much in one sitting...nicely done.

[@colbyashenfelter7069]

Just started going through the exercises in Gradus ad Parnassum and this is a great help. Thank you!

[@briancraig1684]

Because my goal in wanting to learn this rules is to add more dimension for when writing for film scoring and pop, classical ,rock and blues music more tools for the tool box for writing music I hope that make sense?

[@SAZIZMUSIC]

May god bless you abundantly .... one of the best tutorial i have seen in youtube. This will help me to arrange music immensely .. thank you from the bottom of my heart❤❤

[@JacobGran]

Wow, thank you!

[@SAZIZMUSIC]

@@JacobGran Welcome 🤗🤗