Professor Peter Schubert discusses his book on Baroque Counterpoint, learning to improvise fugues, embellishing musical compositions, tonal answer in a partamento, relevance of composers in teaching counterpoint, adults learning to improvise and compose music, counterpoint in rap beats, rediscovering the relevance of counterpoint
The revised edition of Professor Peter Schubert's book focuses on fugue, offering exercises and examples to gradually introduce concepts such as tonal answer and melodic inversion for an accessible learning experience.
The Baroque counterpoint textbook by Professor Peter Schubert provides a manageable and organized approach to teaching fugue, showcasing quotes and examples from Baroque composers for a comprehensive understanding of the form.
Practicing counterpoint through improvisation and singing enhances fluency, internalization, and familiarity with musical concepts, emphasizing the importance of rhythm and harmony integration as well as the continuity of techniques and interpretations.
Deep dives
Importance of Partimeto in Revolutionizing Counterpoint
Partimeto has revolutionized the way counterpoint is taught, providing techniques and books that are highly recommended in the partimento community. Fugue is highlighted as the most interesting and complex form of music, and the focus of the revision to the Baroque counterpoint textbook is on fugue. Famous treatise authors such as Marpourg and Bach are mentioned, along with lesser-known composers like Pergolesi, Pachelbel, and Marcello. The book offers exercises and examples, gradually introducing concepts such as tonal answer and melodic inversion. The importance of fluency and the benefits of partimento in internalizing concepts are emphasized, making it accessible and achievable for all learners.
Overview of Baroque Counterpoint Books
The Baroque counterpoint textbook by Professor Peter Schubert is highly recommended by the partimento community. While the book on modal counterpoint is well known, the book on Baroque counterpoint is less recognized. It focuses on fugue, showcasing quotes and examples from Baroque composers like Marpourg, Mathison, Kircberger, and Remo. Fugue is conveyed as a complex and enriching form, and the book aims to provide an alternative to traditional counterpoint methods by presenting historical materials in a manageable and organized way for modern learners. With revisions in progress, the book will offer improvements, including additional focus on tonal answer, dance steps, and partimento exercises.
Key Points on Teaching Counterpoint
The importance of practicing counterpoint through improvisation and singing is emphasized for a better understanding of the musical language. The value of fluency, internalization, and familiarity with concepts is highlighted. Practical examples are presented, such as listening to and imitating music from different genres, like Kanye West or drum beats, to enhance understanding of counterpoint. The relevance of rhythm and its integration with counterpoint is discussed, as well as the harmony practice that includes figures. The overlapping practices and evolution of counterpoint from Renaissance to Baroque are acknowledged, emphasizing the continuity of techniques and interpretations. The role of singing as a fundamental tool for all musicians, as it enhances skill development and forms a strong foundation, is also emphasized.
Reflections on Baroque Composers and their Works
Different composers, like Pasquini, Handel, Feneroli, Marpurg, and Kircberger, play significant roles in Baroque counterpoint. Pasquini's works are described as suitable for quick performance, while Handel's counterpoint is viewed as easier to understand, yet rich and interesting. Feneroli's pieces, though irregularly figured, are valued for teaching purposes, while Marpurg's fugues are considered not as complex as Bach's, but still hold value in showcasing different contrapuntal techniques. Kircberger's books contribute to the understanding of counterpoint harmony, figures, and practices. The overlapping of practices and the influence of historical context on these composers are acknowledged, highlighting their individual contributions to the learning and teaching of Baroque counterpoint.
Accessibility and Learning Counterpoint
Counterpoint is viewed as an achievable skill for adults, though demanding time and dedication for effective learning. The benefits of extensive practice, repetition, and intuitive understanding are stressed, drawing parallels to language learning where constant immersion aids fluency. The relevance and vitality of improvisation and composition in counterpoint education are emphasized. The role of improvisation for better internalization is compared to the Duolingo approach in language learning. Though not a prerequisite, proficiency in singing is regarded as essential for a comprehensive musician, as it enables imitation, facilitates the understanding of harmonies, and enhances connections between theory and practice. The importance of regular practice and prioritizing counterpoint education is highlighted for efficient and successful learning.
