Music Theory
MUSIC THEORY
3 6 10 13 16
HANDBOOK VOL 1
“ “ “ “ “
Getting Started with Counterpoint” by BETH DENISCH
FROM THE ONLINE COURSE COUNTERPOINT
Understanding Reharmonization” by STEVE ROCHINSKI
FROM THE ONLINE COURSE REHARMONIZATION TECHNIQUES
Master the Basics of Rhythm”
FROM THE ONLINE COURSE MUSIC THEORY 101
by PAUL SCHMELING
Learn the Intricacies of the Seventh Chord” by MICHAEL RENDISH
FROM THE ONLINE COURSE GETTING INSIDE HARMONY 1
Examining the Theory Behind the Blues” by PAUL SCHMELING
FROM THE ONLINE COURSE MUSIC THEORY 201
GETTING STARTED WITH COUNTERPOINT
FROM THE ONLINE COURSE COUNTERPOINT
BY BETH DENISCH
Beth Denisch is an associate professor in the Composition Department at Berklee College of Music. Her music has been performed throughout the U.S. and in Canada, Mexico, Greece, Ukraine, Russia, China, and Thailand, and recorded by Juxtab, Albany, and Interval record labels.
Consider music from the Medieval, Renaissance, Baroque, Classical, Romantic, and 20th century periods. What connects these diverse musical eras? It is the use of multiple melodic lines to create effective music. This is counterpoint. The term counterpoint refers to two or more independent melodic lines working together to create music. In contrapuntal music— music created using counterpoint—each of the melodies works independently as well as together. Together these melodies create a texture called polyphony. Polyphony and counterpoint have been around for about 1,000 years and are at the root of melody and harmony in Western music. You may already be thinking about how good it sounds in contemporary popular music when the bass and lead lines complement each other just right. This happens when 1) each line stands independently as
an effective melodic line and 2) both lines stand together, keeping their independence, but also creating a great sound when heard together. This is counterpoint. The term texture is used to describe the
3 6 10 13 16
HANDBOOK VOL 1
“ “ “ “ “
Getting Started with Counterpoint” by BETH DENISCH
FROM THE ONLINE COURSE COUNTERPOINT
Understanding Reharmonization” by STEVE ROCHINSKI
FROM THE ONLINE COURSE REHARMONIZATION TECHNIQUES
Master the Basics of Rhythm”
FROM THE ONLINE COURSE MUSIC THEORY 101
by PAUL SCHMELING
Learn the Intricacies of the Seventh Chord” by MICHAEL RENDISH
FROM THE ONLINE COURSE GETTING INSIDE HARMONY 1
Examining the Theory Behind the Blues” by PAUL SCHMELING
FROM THE ONLINE COURSE MUSIC THEORY 201
GETTING STARTED WITH COUNTERPOINT
FROM THE ONLINE COURSE COUNTERPOINT
BY BETH DENISCH
Beth Denisch is an associate professor in the Composition Department at Berklee College of Music. Her music has been performed throughout the U.S. and in Canada, Mexico, Greece, Ukraine, Russia, China, and Thailand, and recorded by Juxtab, Albany, and Interval record labels.
Consider music from the Medieval, Renaissance, Baroque, Classical, Romantic, and 20th century periods. What connects these diverse musical eras? It is the use of multiple melodic lines to create effective music. This is counterpoint. The term counterpoint refers to two or more independent melodic lines working together to create music. In contrapuntal music— music created using counterpoint—each of the melodies works independently as well as together. Together these melodies create a texture called polyphony. Polyphony and counterpoint have been around for about 1,000 years and are at the root of melody and harmony in Western music. You may already be thinking about how good it sounds in contemporary popular music when the bass and lead lines complement each other just right. This happens when 1) each line stands independently as
an effective melodic line and 2) both lines stand together, keeping their independence, but also creating a great sound when heard together. This is counterpoint. The term texture is used to describe the