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  • In any case, here is my term project for the Prolog Programming course, Contrapuntal Composer. Depending on initial parameters, it can write a fugue, a rondo, or any other contrapuntal form. — “Contrapuntal Composer”, alumni.media.mit.edu
  • We found 29 dictionaries with English definitions that include the word contrapuntal: contrapuntal: American Heritage Dictionary of the English Language [home, info] contrapuntal: Merriam-Webster's Online Dictionary, 11th Edition [home,. — “Definitions of contrapuntal - OneLook Dictionary Search”,
  • The adjective shows this Latin source more transparently: contrapuntal. The late Baroque composer Johann Sebastian Bach wrote most of his music exploiting counterpoint, and explicitly and systematically explored the full range of contrapuntal possibilities in such works as the Art of Fugue. — “Counterpoint - Definition”,
  • contrapuntal adj. Music Of, relating to, or incorporating counterpoint. [From obsolete Italian contrapunto , counterpoint : Italian contra. — “contrapuntal: Definition from ”,
  • How to use contrapuntal in a sentence. Example sentences with the word contrapuntal. This would seriously affect pleno effects in contrapuntal music. — “Use contrapuntal in a sentence | contrapuntal sentence examples”,
  • The Baroque composer Johann Sebastian Bach wrote most of his music incorporating counterpoint, and explicitly and systematically explored the full range of contrapuntal possibilities in such works as The Art of Fugue. A: contrapuntal: 1 : POLYPHONIC 2 : of, relating to, or marked by. — “Contrapuntal - Kosmix : Reference, Videos, Images, News”,
  • CONTRAPUNTAL FORMS, in Music. The forms of music may be considered in two aspects, the texture of the music from moment to moment, and the shape of the musical design as a whole. The "contrapuntal" forms, then, are historically the earliest and aesthetically the simplest in music; the. — “Contrapuntal forms - LoveToKnow 1911”, 1911
  • The adjective shows this Latin source more transparently: contrapuntal. The late Baroque composer Johann Sebastian Bach wrote most of his music exploiting counterpoint, and explicitly and systematically explored the full range of contrapuntal possibilities in such works as the Art of Fugue. — “BIGpedia - Counterpoint - Encyclopedia and Dictionary Online”,
  • Online Information article about CONTRAPUNTAL FORMS free and fairly contrapuntal harmony in three or more parts, and so arrange it that it remains correct when the parts are brought in one by one, that very few composers seem to have realized that any further artistic See also:. — “CONTRAPUNTAL FORMS - Online Information article about”,
  • "contrapuntal" is a Latin term referring to the art of combining two or more independent J.S. Bach is said to have mastered the contrapuntal technique of musical composition, though the term in this context refers to a different type of composition:. — “Benjamin Skepper : contrapuntal”, maison-de-
  • Definition of contrapuntal from Webster's New World College Dictionary. Meaning of contrapuntal. Pronunciation of contrapuntal. Definition of the word contrapuntal. Origin of the word contrapuntal. — “contrapuntal - Definition of contrapuntal at ”,
  • In musical composition, contrapuntal techniques are important for enabling composers to generate musical using counterpoint—specifically, the contrapuntal style as practised by Palestrina. — “Counterpoint - Wikipedia, the free encyclopedia”,
  • : Contrapuntal Edward Said, Contrapuntal Hermeneutics and the Book of Job: Power, Subjectivity and Responsibility in Biblical Interpretation (BibleWorld) by Alissa Jones Nelson (Paperback - Mar. 31, 2011). — “: Contrapuntal”,
  • Definition of contrapuntal in the Online Dictionary. Meaning of contrapuntal. Pronunciation of contrapuntal. Translations of contrapuntal. contrapuntal synonyms, contrapuntal antonyms. Information about contrapuntal in the free online English. — “contrapuntal - definition of contrapuntal by the Free Online”,
  • This page is about contrapuntal theory. A brief essay on the development of the contrapuntal dimension on western music, focused on the problem of vertical consonance and dissonance is complemented with a comprehensive glossary and a list of the. — “The Counterpoint Page”,
  • Week 1: Contrapuntal Techniques. There is a venerable tradition in western classical music of generating new Every three-note segment of Webern's concerto is a contrapuntal derivative (transposed) of the pitches G, B, and B-flat. — “Lesson 1 for "Form & ***ysis"”, j***.ucc.nau.edu
  • Definition of word from the Merriam-Webster Online Dictionary with audio pronunciations, thesaurus, Word of the Day, and word games. Origin of CONTRAPUNTAL. Italian contrappunto counterpoint, from Medieval Latin contrapunctus — more at counterpoint. First Known. — “Contrapuntal - Definition and More from the Free Merriam”, merriam-
  • The adjectival form contrapuntal shows this Latin source more transparently. how to compose, using counterpoint—specifically, the contrapuntal style as practised by Palestrina in the. — “Counterpoint - New World Encyclopedia”,
  • Skeptical photographer who travels for work far too much, loves acting and directing AmDram () contrapuntal. Tonight is second of three rehearsals this week for Family Planning. It's exhausting but fun - we've a great fun cast. 8:23 AM Mar 10th via TweetDeck. — “Martin (contrapuntal) on Twitter”,
  • Watch the latest music videos, video interviews, live sessions, music video news and band walk-ons from around the globe Watch the latest Contrapuntal videos, music videos, video interviews, live music sessions, music news and bands onstage around the globe. — “Free Music Videos, Video Interviews, Music Video News, Live”,
  • contrapuntal (comparative more contrapuntal, superlative most contrapuntal) Retrieved from "http:///wiki/contrapuntal" Categories: English adjectives | Music | Latin derivations. — “contrapuntal - Wiktionary”,

Videos
related videos for contrapuntal

  • contrapuntal variations
  • When That Man Is Dead And Gone Al Bowlly Jimmy Mesene 1941 ebaY critic Cappnonymous presents a brief contrapuntal study in audio-visual propaganda. Materials used here are from the Internet archives, public domain. Video source: Triumph of the Will (German: Triumph des Willens) is a propaganda film made by Leni Riefenstahl. It chronicles the 1934 *** Party Congress in Nuremberg. Music: 78 RPMs & Cylinder Recordings Collection Al Bowlly, Jimmy Mesene - When That Man Is Dead And Gone 1941 The audio here has been altered/edited with audacity to remove hiss, run through Barry's Satan Maximizer, make stereo track and widen stereo separation.
  • Juampy Juarez playing 2 line ideas on the famous jazz standard The Days of wine and roses Argentina's guitarist Juampy Juarez playing his own variation in 2 line improvisation on the beatiful jazz standard The days of wine and roses" Thanks to Hamer Guitars. If you want to learn more about 2 line improvisation, go to and search for my video clinic "Contrapuntal Improvisation"
  • Prelude and Fugue in D Major (Johann Sebastian Bach) This is the Prelude and Fugue in D Major BWV 850 by JSBach (1685-1750), taken from "Das Wohltemperierte Clavier" (The Well-Tempered Clavier), Book 1 (1722). This is a Baroque-period contrapuntal piece. I played the Prelude and the Fugue as one whole piece, but I'm sure you can tell where the two are distinct. The tempo marking for the prelude is Praeludium (1/4 note = 126-138). For the fugue, it is "Fuga a 4" (1/4 note = 50-69). Please comment! ^^ If you have time, please visit my other videos! XD
  • Steve Reich - Electric Counterpoint Guitarist Adrian Verdejo performs Electric Counterpoint by Steve Reich (b. 1936) in Victoria, Canada, October 8, 2010. Composer's Notes Electric Counterpoint is in three movements; fast, slow, fast, played one after the other without pause. The first movement, after an introductory pulsing section where the harmonies of the movement are stated, uses a theme derived from Central African horn music that I became aware of through the ethnomusicologist Simha Arom. That theme is built up in eight voice canon and while the remaining two guitars and bass play pulsing harmonies the soloist plays melodic patterns that result from the contrapuntal interlocking of those eight pre-recorded guitars. The second movement cuts the tempo in half, changes key and introduces a new theme, which is then slowly built up in nine guitars in canon. Once again two other guitars and bass supply harmony while the soloist brings out melodic patterns that result from the overall contrapuntal web. The third movement returns to the original tempo and key and introduces a new pattern in triple meter. After building up a four guitar canon two bass guitars enter suddenly to further stress the triple meter. The soloist then introduces a new series of strummed chords that are then built up in three guitar canon. When these are complete the soloist returns to melodic patterns that result from the overall counterpoint when suddenly the basses begin to change both key and meter back and ...
  • Jimmy Wyble's Etudes No. 2 and No. 3 Jimmy plays
  • "Brothers Grimm" (Contrapuntal Piano Composition) An original piano composition by Karl Nerman. Inspired by the two storytellers Jacob and Wilhelm Grimm. Gotta love the counterpoint! Copyright 2011 Karl Nerman
  • Contrapuntal Variations (III) by CP First Here is the third movement of the work Contrapuntal Variations by CP First for mandolin & prerecorded mandolins written for Dimitris Marinos who commissioned the work as part of the national series Commissioning MusicUSA. In this performance it constitutes the eighth scene of Music ***ects IV which was produced by the HAA on Feb. 20 2009. Choreography by Asimina Chremos. Dancers: Annie Bessera, Jessica Cairo, JulieAnn Graham.
  • Contrapuntal Music in FO
  • Electric Counterpoint - III High Quality MP3 Version Here: Viktor Lundberg performs Electric Counterpoint by Steve Reich for 12 Guitars and 2 Basses. Recorded using an Ibanez PGM401& Yamaha RBX Bass into the Fractal Audio Axe-FX. Liner Notes by the composer: Electric Counterpoint is in three movements; fast, slow, fast, played one after the other without pause. The first movement, after an introductory pulsing section where the harmonies of the movement are stated, uses a theme derived from Central African horn music that I became aware of through the ethnomusicologist Simha Arom. That theme is built up in eight voice canon and while the remaining two guitars and bass play pulsing harmonies the soloist plays melodic patterns that result from the contrapuntal interlocking of those eight pre-recorded guitars. The second movement cuts the tempo in half, changes key and introduces a new theme, which is then slowly built up in nine guitars in canon. Once again two other guitars and bass supply harmony while the soloist brings out melodic patterns that result from the overall contrapuntal web. The third movement returns to the original tempo and key and introduces a new pattern in triple meter. After building up a four guitar canon two bass guitars enter suddenly to further stress the triple meter. The soloist then introduces a new series of strummed chords that are then built up in three guitar canon. When these are complete the soloist returns to melodic patterns that result from the ...
  • contrapuntal exhibition - "requiem d'une marionette" - Benjamin Skepper with Michiko Suzuki Directed by Benjamin Skepper, "requiem d'une marionette" is an exhibition presented by Skepper with couturier Michiko Suzuki at Frank Lloyd Wrights "Jiyugakuen" in Tokyo on 23 September 2009. This artistic collaboration between creative director/producer and musician Benjamin Skepper and couturier Michiko Suzuki (formerly designer at Yohji Yamamoto) was the first exhibition presented by contrapuntal. Seeking to fuse music and couture, Suzuki drew inspiration from Skeppers violoncello composition marionette, to create couture garments. Further to the duo's creative process, Skepper composed music for harpsichord drawing inspiration from Suzukis couture creations. Fantastical, whimsical, ephemeral and spell bound, the artists creation recalls the memory of children free to express imagination and emotion in a limitless world. Each couture creation is a one-off limited item and is sold with the music that inspired the creation eika. COLLABORATION WITH KEIJI ITO requiem dune marionette also marked the release of Skeppers debut 12 vinyl record titled eika 詠歌featuring three violoncello compositions . Renowned artist, Keiji Ito of Unidentified Flying Graphics (UFG) directed the artwork for the record cover. Without the need for words, inspiration for the cover design was drawn from Skeppers musical compositions. COLLABORATION WITH RACHEL SKEPPER Couture millener, Rachel Skepper (Australia) also based the design for her couture head pieces on Skeppers musical compositions. The ...
  • Boni Pueri Boys Choir - Vinea mea electa Jan Dismas Zelenka's music exhibits contrapuntal mastery and harmonic inventiveness, qualities that were particularly admired by his contemporaries Johann Sebastian Bach and Georg Philipp Telemann. His music which was not widely disseminated during his lifetime due to the protected status that compositions by the Dresden composers held, has in recent years seen a revival of interest, mainly centred upon his vocal compositions, which is surely warranted on the basis of the originality of his language, "the private rhetoric of the heart" which Dr. Wolfgang Horn refers to. Jan Dismas Zelenka was born in Lounovice, a small town in central Bohemia, (now Republic Czech) south east of Prague, and was baptised on the 16th October 1679 in the local Catholic church, with the names Jan Lukás in the baptismal register. Jan Lukás was the eldest of the eight children born of Maria Magdalena (née Hájek) and Jiri Zelenka. His father was the local kantor and an organist and provided his sons early musical education. The name Jan Dismas probably originates from his confirmation.
  • Max Reger - Fantasie und Fuge über BACH, Op. 46 Fantasie und Fuge über BACH, Op. 46 (1900) A composition for organ by German composer Max Reger (1873-1916). This highly contrapuntal and extremely technically demanding work is built around the iconic motif BACH (German nomenclature for B flat - A - C - B natural), in homage to Reger's musical hero Johann Sebastian Bach (1685-1750). Organist: Rosalinde Haas Albiez-Orgel in Frankfurt-am-Main
  • Tom Lippincott Jazz Guitar Harmony Part I Excerpt from Tom Lippincott's Master Class, available for download at . Are you confused and overwhelmed by books giving you "1001 and guitar chords"? Do you know some "jazz chords" but are sometimes unsure of where and how to use them? Do you have down the basic "jazz guitar" chord vocabulary but are looking for a way to bring your comping, chord/melody playing, and sense of harmony to the next level? Are you relatively new to playing jazz guitar and looking for a clear, logical, and thorough system for learning about chords and jazz harmony? Are you an intermediate or advanced player wanting to incorporate a more modern sound and/or a more pianistic approach into your chord playing? If your answer to any of the above questions is yes, I believe that this series of classes can help you achieve your goals. This multi-part series covers the application of jazz harmony to the guitar for comping, solo guitar arranging and improvising, and bringing harmonic ideas to soloing within a group context. The classes focus on a detailed and systematic step-by-step approach for building a strong foundation for chordal and contrapuntal playing and will cover everything from the essential basics to more advanced and modern concepts. Numerous musical examples are demonstrated as well as written in traditional notation, tablature, and/or chord grid form, but the material has been designed to be open-ended enough that you will be encouraged to find your own path ...
  • Contrapuntal Fabric at Young Colonials Muster 2010 - 1
  • Johann Pachelbel: Magnificat Fugue primi toni (d) no.1 Tibor Pinter plays on the sample set of Adam Ehrlich organ (1748), Bad Wimpfen, Germany. Paintings by Georges de La Tour. Magnificat Fugues When Pachelbel became organist of St Sebaldus, Nuremberg, in 1695, he enhanced his fame with his Magnificat fugues. Historically, the use of the organ in relation to the Magnificat at Vespers followed one of two directions: the organist could play alternate verses of the chant, or he could play an intonation or prelude of modest dimensions to establish the pitch for the singers. Pachelbel adopted the second method and chose to follow the harmonic and contrapuntal styles of the Intonatio found in the Harmonia organica (1648) by JE Kindermann, one of his Nuremberg predecessors. Intonations may be thematically related to the chant formula, as in Kindermann's example, or they may use free themes, as in the majority of Pachelbel's Magnificat fugues. The dimensions, form, fugal and contrapuntal techniques, motifs and harmonic resources of these fugues are essentially the same as those found in his fugues based on chorales; however, they were clearly excellent compositional exercises for Pachelbel since they required him to establish the character, contrapuntal methods and motivic consistency of each fugue within such a short frame. In all, they constitute the largest and most varied collection of fugues in the generation directly preceding JS Bach. Ewald V. Nolte, et al. "Pachelbel." In Grove Music Online
  • Hammerklavier, Beethoven Sonata n.29, by Brendel. (5/6) IV Largo e Allegro Risoluto. Introduzione - Fuga: Allegro risoluto The movement begins with a slow introduction that serves to transition from the third movement; to do so, it modulates from D Minor to B Major to A Major, which modulates to B-flat major for the fugue. Dominated by falling thirds in the baseline, the music three times pauses on a pedal and engages in speculative contrapuntal experimentations, in a manner somewhat similar to the quotations from the first three movements of the Ninth Symphony in the opening of the fourth movement of that work. After a final modulation to B-flat major, the main substance of the movement appears: a titanic three-voice fugue in triple meter. The subject of the fugue can be divided itself into three parts: (i) a tenth leap followed by a trill to the tonic, (ii) a 7-note scale figure repeated descending by a third, and (iii) a tail semiquaver passage marked by many chromatic passing tones, whose development becomes the main source for the movement's unique dissonance. Marked "with occasional license" ("con alcune licenze"), the fugue, one of Beethoven's greatest contrapuntal achievements, as well as making incredible demands on the performer, moves through a number of contrasting sections and includes a number of "learned" contrapuntal devices, often, and significantly, wielded with a dramatic fury and dissonance inimical to their conservative and academic associations. Some examples: augmentation of the fugue ...
  • Contrapuntal Fabric at Young Colonials - 2
  • Ustvolskaya - Piano Sonata No. 2 Piano Sonata No. 2 (1949) "Three closely related aspects of this work are of particular interest to me. First there is the unusual relationship between the two movements. They have curiously similar yet distinct melodic ideas, the first at MM = 80, the second at a slightly more purposeful MM = 92, yet they follow very different courses. Their relationship is clearly pertinent as it is subtle, insofar as if they are heard in reverse order, the work as a dramatic entity totally collapses. Next, the second movement, like the first, builds to a weighty climax, but then instead of falling away as convention might suggest, the music walks on into the intensity and, as if a hidden door had opened, we find ourselves moving on an elevated plain, which, with its endless procession of crotchets, might hold us for ever. My third observation is about this extended procession of crotchets: the music here is actually made up of individual contrapuntal strands which, despite their rhythmic unison, maintain a perfect clarity throughout. In other words, the composer has been able to deftly overturn one of the basic truisms of contrapuntal music." Galina Ustvolskaya (1919-2006) was a relatively obscure 20th-century Russian composer. Before the 1970s she was virtually unknown to the West and only recently have scholars and performers taken an interest in her music. From 1939 to 1947 Ustvolskaya studied with Shostakovich, who praised her music and unique compositional voice; he even quoted ...
  • Ocarina Xmas 2010: A Contrapuntal Christmas? Merry (slightly belated) Christmas to all my friends, whatever part of the world they may find themselves in right now! After fighting madly with my oft-crashing audio editing software, here is my Merry Ocarina Christmas medley for 2010. I'm playing hulusi; 3 different ocarinas including a dragon ocarina (the original $%#@ whistle, for all you YNPers), a Hind double ocarina, and an ocarina of unknown (likely Taiwanese) origin; plus a little glockenspiel to add some contrast to the texture. It's a pretty treble-heavy mix, so you won't be needing any subwoofers for this one. Hope you all had a great Christmas this year. Enjoy!! This Contrapuntal Christmas mashup includes: We Wish You A Merry Christmas Away In A Manger (both commonly-known tunes) We Three Kings Joy to the World It Came Upon the Midnight Clear O Come All Ye Faithful
  • Buster Keaton Contrapuntal Remix This is a project where I added a soundtrack to a short section of the Buster Keaton silent film The General. It is spoooooky, I assure you.
  • Contrapuntal Funeral Song - Bizet variation Variation on a theme by Bizet composed by Rafael Tomasso
  • SHINING - Contrapuntal Sound
  • In My Life Piano Cover (including contrapuntal keys solo!) A piano solo adaptation of In My Life by The Beatles.
  • Mozart Piano Concerto 5 (Malcolm Frager, piano) movement 3 Mozart tackles a problem in this Allegro, how to introduce contrapuntal elements in a sonata-form movement, that he was to revisit several more times. Being Mozart, it must be tackled in the very first piano concerto he fully composed himself! "Relaxed, smiling, Malcolm Frager plays the piano as he breathes. He is endowed with intelligence as well as digital dexterity. But his facility, his brio, does not overshadow his refined sensibility or the depth and seriousness of his musicianship"-- The Guardian Sad to say, Malcolm Frager was diagnosed with cancer not long after this concerto was filmed, and he died in 1991. This may well have been the last thing he filmed. Mozart Piano Concerto In D Major, K. 175 No.5....Mozart later composed a more tuneful rondo finale for this concerto, thinking it would be more popular with the Viennese audience than what John Irving described this original third movement, the "intellectual, contrapuntally conceived sonata-form finale". Piano Concerto In D Major, K. 175 No.5, third movement: Allegro Malcolm Frager, Steinway piano, with the orchestra of Italian Language Radio and Television of Switzerland, under Marc Andreae. Recorded Live at the Teatro Scientifico Del Bibiena, Mantua, 19 April 1989. Orchestra della Radio-televisione della Svizzera Italiana, Leitung: Marc Andreae Wolfgang Amadeus Mozart (1756-1791) Klavierkonzert Nr. 05, D-Dur, KV 175
  • Juampy Juarez - Contrapuntal Improvisation Blues performed by Juampy Juarez as a demonstration of his Master Class "Contrapuntal Improvisation", available for download from . "My goal in this Master Class is show my own investigations and variations on Jimmy Wyble's concept, called Two line improvisation. In this video you will see Hybrid Picking, Contrapuntal Scales, Chord Fragments, Intervalic Improvisation, Counterpoint Ideas and more. These concepts are applied to jazz blues and famous standards. You will be introduced to an original musical world with plenty of new ideas, really interesting for playing solo jazz guitar or in a jazz combo. Also, you will expand your harmonic vocabulary. The clinic is great for beginning to look at the guitar in a completely new way." Class includes written materials including TAB.
  • Bach Inventions:Duet arranged for Cello and Violin The Inventions and Sinfonias, BWV 772801, also known as the Two and Three Part Inventions, are a collection of thirty short keyboard compositions composed by Johann Sebastian Bach (1685-1750), consisting of fif*** inventions (two-part contrapuntal pieces) and fif*** sinfonias (three-part contrapuntal pieces). They were originally written by Bach as exercises for the musical education of his students. Bach titled the collection: "Honest method, by which the amateurs of the keyboard especially, however, those desirous of learning are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." This section includes inline links to audio files. If you have trouble playing the files, see Wikipedia Media help. The two groups of pieces are both arranged in order of ascending key, each group covering fif*** major and minor keys. The inventions were composed in Köthen; the sinfonias, on the other hand, were probably not finished until the beginning of the Leipzig period.
  • 'Contrapunctus I': Fugue in A minor by JL Jurgens This is 'Contrapunctus I' by Jacques Jurgens. It is a four-part fugue in A minor. I've used a generic name, since I plan on adding more contrapuntal compositions that could include fugues, canons, and free counterpoint. (I have borrowed the term 'contrapunctus' from Bach's 'Die Kunst der Fuge', but I can only hope one day to approach his mastery of the art ;-). The compositions I plan on adding won't necessarily increase in complexity as in Bach's scheme; I've merely used the same naming convention.) In this piece, I have ignored some of the traditional rules of counterpoint, for example, the rule that a pure fourth is a dissonance in contrapuntal writing; I am exploring possibilities and still working towards better technique ;-). Thank you for listening! If you find the counterpoint a bit obscured by the orchestral texture and would like to hear the parts on more easily distinguishable instruments, leave a comment, and I will add a link. Higher Quality Version: HD Version: Do you like it? Please comment!
  • Frankie and Annette - I Think, You Think (contrapuntal duet) Frankie Avalon and Annette Funicello from Beach Blanket Bingo
  • Contrapuntal Fabric at Young Colonials - 3
  • CP First: Contrapuntal Variations II (2000), pt 1 solo violin; world premiere recording, made in 2001
  • 142: Contrapuntal So yeah, I was random in this video
  • contrapuntal leaves
  • Johann Pachelbel: Magnificat Fugue primi toni (d) no.2 Tibor Pinter plays on the sample set of Adam Ehrlich organ (1748), Bad Wimpfen, Germany. Illustrations: Renaissance paintings. Magnificat Fugues When Pachelbel became organist of St Sebaldus, Nuremberg, in 1695, he enhanced his fame with his Magnificat fugues. Historically, the use of the organ in relation to the Magnificat at Vespers followed one of two directions: the organist could play alternate verses of the chant, or he could play an intonation or prelude of modest dimensions to establish the pitch for the singers. Pachelbel adopted the second method and chose to follow the harmonic and contrapuntal styles of the Intonatio found in the Harmonia organica (1648) by JE Kindermann, one of his Nuremberg predecessors. Intonations may be thematically related to the chant formula, as in Kindermann's example, or they may use free themes, as in the majority of Pachelbel's Magnificat fugues. The dimensions, form, fugal and contrapuntal techniques, motifs and harmonic resources of these fugues are essentially the same as those found in his fugues based on chorales; however, they were clearly excellent compositional exercises for Pachelbel since they required him to establish the character, contrapuntal methods and motivic consistency of each fugue within such a short frame. In all, they constitute the largest and most varied collection of fugues in the generation directly preceding JS Bach. Ewald V. Nolte, et al. "Pachelbel." In Grove Music Online
  • Contrapuntal Fabric at Young Colonials - 4
  • Contrapuntal Pianisms This is an improvised solo piano piece performed live by pianist/composer Larry Kutcher. It's neoclassical style moves mercurially from subtle nuances, to absurd cacophony, to dramatic flourishes in the grand classical tradition.
  • Steve Herberman - Contrapuntal Improvisation Master Class Excerpt from Steve Herberman's Master Class "Contrapuntal Improvisation" on 1/13/07 on - available for download.
  • Bach - Italian Concerto BWV971 - Mov. 1/3 JOHANN SEBASTIAN BACH (1685-1750) *arrangement by Rinaldo Alessandrini "Concerto nach Italienischem Gusto" for double-manual harpsichord in F major, arranged for solo violin, strings and basso continuo in G major BWV971 1. [...] Performed by Concerto Italiano Directed by Rinaldo Alessandrini *Rinaldo Alessandrini on his arrangement of the "Italian Concerto": "The notion that this work could be the transcription of a violin concerto that no longer exists has always been generally accepted by Bach scholars. Indeed, it is not difficult to find in the solo sections details and formal procedures typical of violinistic style. With this in mind, the key has been changed (by ***ogy with Bach's own practice when, for example, he transcribed his violin concertos for harpsichord). the new key of G ,ajor allows more frequent use of open strings. It was necessary to create or complete a line for a fifth voice. in performing this task we took account of the various hints as to contrapuntal or canonic development contained in existing parts, and more generally let ourselves be guided by the contrapuntal style chosen by Bach in numerous passages."
  • Contrapuntal Sound #1 New American Makers Video Award Winner 1993.
  • Simon Sechter (4) Two Contrapuntal Studies. Expectedly one of my last contributions to this very short series about Simon Sechter (1788-1867), counterpointist in the deepest polyphonic diaspora which was Biedermeier Vienna. When Robert Schumann launched his "Sammlung von Musik-Stücken aus alter und neuer Zeit als Zulage zur Neuen Zeitschrift für Musik" in 1838, he created a supplement to a music journal that already existed (one of the many that already existed). His program was to fight the degenerate state of affairs concerning the music of his time. He sought to do this "to recognise the old era [...], and its works, to call attention to how new works of art and beauty can be fortified only at so pure a spring [...], finally to prepare a young, poetic future, to help to accelerate it". Six*** volumes of music were the result, with 69 compositions from 39 different male (ia Liszt, Moscheles, Mendelssohn) AND female composers. Since this is so extraordinary, I would like to mention all of them: Pauline Viardot-Garcia, Johanna Mathieux, Josephine Lang, Julie von Webenau-Cavalcabo and of course Clara Wieck. This is Simon Sechter's contribution.
  • Ferruccio Busoni: Contrapuntal Fantasy (Part II) - Alvaro Ordoñez - Piano The pianist Alvaro Ordoñez Plays Contrapuntal Fantasy (Part II) by Ferruccio Busoni. Recordad at Olav Roots Auditorium in the Conservatory of the Colombian National University. Bogotá - 2003. mmmmmmmm My only piano exam recorded.......It`s funny I played this in concert some times before and after this exam but this was the best recording that i have of it........ This crazy work is hard for memory among other things.......
  • Ferruccio Busoni: Contrapuntal Fantasy (Part III) - Alvaro Ordoñez - Piano The pianist Alvaro Ordoñez Plays Contrapuntal Fantasy (Part III) by Ferruccio Busoni. Recordad at Olav Roots Auditorium in the Conservatory of the Colombian National University. Bogotá - 2003. mmmmmmmm My only piano exam recorded.......It`s funny I played this in concert some times before and after this exam but this was the best recording that i have of it........ This crazy work is hard for memory among other things.......

Blogs & Forum
blogs and forums about contrapuntal

  • “CBC Radio 2 is Canada's national music network. Delivering the best recordings and performances from Canada's concert halls, clubs, studios and festival stages to your car, office and living room 24 hours a day”
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  • “RoR forum Forum : Art : Contrapuntal. Contrapuntal. Joseph Maurone. My feelings on Solo as it currently is can be summed up by this picture. (Added by Joe Maurone on 9/09, 10:27am)”
    — RoR: Forum,

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