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Topic: "counterpoints" |
Joseph V. Sapp
From:
eastern shore, Md.
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Posted 2 Nov 2009 6:20 am |
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is there any tab, or instruction on doing counterpoints? (you know,,,one note going one way and another going in the opposite direction. This is giving me a royal fit and sure could use some help with this.....
God Bless
Joe
LeGrande lll, D-10 8X7, Legrande ll, SD-10 4X5 (my workhorse),,Pair of Nashville 112's,,PX-300, Lexicon MPX 100,,Revelation pre-amp,,, |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 2 Nov 2009 6:33 am
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Here's something I started years ago, on the old Forum:
CLICK HERE
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Lee, from South Texas - Down On The Rio Grande
There are only two options as I see it.
Either I'm right, or there is a sinister conspiracy to conceal the fact that I'm right.
Williams Keyless S-10, BMI S-10, Evans FET-500LV, Fender Steel King, 2 Roland Cube 80XL's,
Sarno FreeLoader, Goodrich Passive Volume Pedals, Vintage ACE Pack-A-Seat |
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Chuck Thompson
From:
Illinois, USA
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Marco Schouten
From:
Amsterdam, The Netherlands
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Posted 2 Nov 2009 6:50 am
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Bobbe Seymoure teaches a few on Youtube
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JCH SD-10 with BL XR-16 pickup, Sho-Bud Volume Pedal, Evidence Audio Lyric HG cables, Quilter Steelaire combo |
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John Fox
From:
Quantico and Crozet, Virginia, USA
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Posted 2 Nov 2009 7:43 pm Defining Counterpoint
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Dear Joseph,
I see the quotation marks around "counterpoints," but I believe you are focusing on convergent and divergent movement of tones in two or more melodies. Counterpoint more broadly includes management of all motions of simultaneous, multiple melodies. I think Grove's Dictionary of Music has a lengthy article on many types of counterpoint, from styles where one voice provides harmonic support to the main melody, to types where you effectively have dual (or more) solos with independence, some voices dropping out at times, as with Bach fugues.
Classical counterpoint usually avoided a strictly parallel motion that retained intervals of a 5th (as with a do-so interval sounded together), but even that has exceptions. Much of counterpoint works with one voice holding a note while the other moves, which is another variety of motion, and familiar in the "Amen" IV-I chord progression at the end of a hymn. The line between counterpoint and simple harmonic support to a melody is debatable, but the former suggests to me that the lines are equally interesting to the audience, rather than one part being dominant.
If you are not looking for full melodies that fit together, perhaps you are looking for contrary motion in licks, which can be achieved in pedal steel-style dyads by changing the bar position while adding a pedal that moves the second tone in the opposite direction. Alternatively, changing the strings you pluck can achieve the same effect, raising one note and lowering the other. It's a beautiful effect, and the lines can even cross, but then the character of each line is often clarified by assigning different instruments.
Sorry if this is too pedantic; it's been years since my music theory classes, but I still love the subject. I hope you will find new ideas. |
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Wayne Franco
From:
silverdale, WA. USA
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Posted 2 Nov 2009 9:31 pm Herby Wallace
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| Contact Herby, he has got some tab with some counterpoint licks on it. |
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Chuck Thompson
From:
Illinois, USA
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Posted 2 Nov 2009 10:14 pm
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Joseph - here is a simple counterpointyish lick in the key of F that i posted a couple years ago that you might like |
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Russ Wever
From:
Kansas City
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Posted 3 Nov 2009 3:04 am
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Joseph,
Get in touch with Don E. Curtis at Scottys Music.
A couple years ago he was compiling counterpoint
examples to offer in a booklet.
~Russ |
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Joseph V. Sapp
From:
eastern shore, Md.
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Posted 3 Nov 2009 4:16 am
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Thank you all so much. Alot of great input, and has given me some great leads to check out. I even had some PM's from old friends about this subject. so now let the fun begin....
God Bless
Joe |
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