SYLLABUS 

 

Instructor - Andrew James Clark - www.andrewjamesclark.ca

 

Renaissance Counterpoint

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Renaissance counterpoint, sometimes referred to as "modal counterpoint" involves the study and imitation of the sacred medieval masses of Giovanni Palestrina. Through acquisition of these Palestrina's contrapuntal maneuvers, students gain access to the oldest codified compositional techniques in western art music with a particular emphasis on crafting florid melodic material which is most natural and suitable to the human voice. This course does not exceed three part writing.

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Baroque Counterpoint

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Baroque counterpoint, sometimes referred to as "tonal counterpoint" involves the study and imitation of inventions, sinfonias and fugues by Johann Sebastian Bach. Through the practice of tonal counterpoint, students will acquire the ability to control harmonic tension and imply sophisticated harmonic progressions with extremely limited musical material. It is recommended that students have completed at least level 10 RCM Harmony before taking this course. 

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Twelve Tone Counterpoint

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12-Tone counterpoint is a "new" subject of study and there is currently no standardized curriculum. In light of this, this course primarily draws upon the teachings of Ernst Krenek, a pupil of Arnold Schoenberg. Through the study of Krenek's twelve tone contrapuntal method, students will gain a heightened awareness of how musical elements behave in the absence of functional harmony. It is recommended that students have completed ARCT analysis before taking this course. 

 

Counterpoint For Composers

 

The counterpoint for composers course is designed for composition students who want to create long form musical narratives exclusively counterpoint. The course heavily focuses on investable counterpoint, cannons, crab cannons, and fugue. 

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