Download Edition, has been finaly realized : http://www.dancemusicproduction.com/dmpshop/index.php?_a=product&product_id=70 , stock level : 4 or wait 3

 

AH!

 

Can I learn to compose like Bach with that?

 

I was monitor of counterpoint for 5 years at the University, but I wanna see this... dance music is mainlly done with bass, even when people in general talk about melody ,technically speaking, they talk abou higher bass line, so as sad it appears counterpoint are freedomly talked like question an answer, and question can be anything, like the answer.
So, nowadays we ask for a tomatos and receive universe, its like the people in the dance halls who talk to each other and do not understand the answers or question, and they continue to talk... after the party is over with no loud music they think: finally I discover someone who thutly understand me!

 

LOL download edition - out of stock ???? how does that work then?

 

That was brilliant... you've just made my day ! THX

 

I'm actually studying harmony and counterpoint at the moment. I'm interested in the extent of his coverage of the topic. I seriously doubt he's going to have the time to get into it with any kind of detail. I suggest anyone interested might want to pick up an actual book. Don't just rely on videos to learn more advanced music theory topics as you won't get the level of detail that you really need. And he's always out of stock...on everything. I don't get it.

 

Very true. What can I say? Music is a discipline that takes years and years of study and practice to get right. Also don't you look at bass as a melodic line as well? Sometimes the melody is in the bass and sometimes it's in the lead, it really depends on the genre. Either way it's a fixed amount of melodic lines and how they interact with each other.

 

DMP tutorials are quite good if not best ones, this is why I mentioned it, and always good to see the forest through the trees, so it can be a good introduce work, gonna watch it then I will be smarter

 

Yes, using the term 'counterpoint' especially in rather (sorry) primitve music like Trance is plain ridiculous...

(And before you fanbois freak out: I know that they mean sth different than the use of the term in classical music).

 

That's a really close-minded view of contemporary music. Trance music actually happens to be the most resembling classical of all the electronic genres and the music theory involved is rather complex. Counterpoint is about the interaction of melodic lines. Who cares which genre it applies to? Sounds like snobbery to me.

 

Could anyone share this tutorial?

 

No Warez! Do people have some problem with reading the rules on this forum? It seems we have the same questions everyday.

 

Well then I guess your knowledge of classical music and/or counterpoint is rather limited.

Show me just one trance track which is harmonically as complex as the simplest Bach fugue (which expression maybe a contradiction by itself).

And well, snobbery it is then, right.

 

Wait a little and Funtime or Horsemen will bring it on the other side

 

Countepoint like religion is the oposite of chord and melody, the first only use melodies and I is a must know and study fugues. One of the most dificult thing in music is define melody. If it chordal (any notes of the chord, an enbelishment, or static or dissonance) is a bass.
In counterpois there are no bass, usually in a classic pedal near the end.
If it has a hierarchy is no counterpoint.

If it do not have curves like a draw is a bass.

Do not matter if its more high or lower, still is a bass.

Note: there are beatiful basses that seams like melody and must give the right value.

Ostinatos today are called themes (my good) but they are really bass.

I studied integral serial music but is stupid like most themes today. Balace is a goal in the mix but todays fxs are the richness of the music.

I know that is hard to make only counterpoint in todays music, but the instruments must talk, usually there are so many chords, fx, bass, ostinatos but no melody. So we change the melodic richiness in exchange od fireworks. Whats wrong? We must learn about the pass because there are some so called genius that repeat poorly the pass.

Sugestions: hear, study the evolution of music (no need to go deep in serial music) and make curves, instrument talk, do not use full chords.

In the time of dinos melodies are much longer than now, music seam to be shorter is so many aspects.

Music is a religion for me and I do stupid thing that my clients want, I do not know, music is so superficial, Its hard to hear something really good and when I hear it usually do not receive $, capitalism make music like disposable underware, what a shame.

Thanks good that this comunity have a lot of good fellow
Thanks that sometimes someone hear what we speak, and that really good
Thanks that all of you wanna debate about counterpoint.
With the technology of today (mainly the mind) we can do something much better than Bach, but who wants more than 20 childrens?

 

First of all, the complexity of a piece is not the only method for judging it's merits. Oftentimes people forget that less is more in many different styles of music and there are PLENTY of techniques that electronic musicians employ in their music that would be foreign to a classical musician. Second of all, it's not supposed to be as complex as people have to dance to it so it keeps with a slower harmonic rhythm with less chord changes. Do you generally dance to fugues? When you pick up a counterpoint book does it say: warning these techniques should only be employed on the most complex classical music? No, it doesn't because counterpoint isn't just reserved for elitist, stuck-up musicians though I know this must be painful for you. Particularly to reply to a post like that in a predominantly EDM forum shows an amount of arrogance that is just beyond comprehension. You're not just satisfied in judging your own creativity you have to put down other peoples in an attempt to make yourself feel better. Aren't you just SO cool? The fact that you think that the whole of the music in existence has to adhere to that standard is utterly ludicrous. Jazz didn't and it brought tons of new outlooks on the world of music and theory. Still people talked shit about jazz musicians. I guess they were just insecure. How's your knowledge of synthesis (Additive, FM, Subtractive, Wavetable)? Can you employ any of the aforementioned to create any sound you can imagine or something complex like a soundscape? Funny how you never see an electronic musician being elitist about that. Better time spent making music. Plus I can guarantee you one thing: You're no Bach!

Let's knock out all the ridiculous misconceptions that people have on this forum because I'm honestly sick and tired of hearing about them:
Electronic Musicians Are Talentless

Without deviation from the norm, progress is not possible.
-Frank Zappa

 

I was under the impression that counterpoint (point against point) is the interaction between disparate melodic lines in a piece of music based on the chord structure of a song. In modern music this would be the interaction between bass, lead, pads, strings, other elements, etc. When I read a text book I am understanding it in the context of all music not just classical. Otherwise unless you are a strictly classical musician what would be the point?

 

Yes your right, but
today I do not study classical muscic but techniques, realtime, fx, experimentation BUT...
We lost something.
For example I am a broken guy, is hard for me make a simple music, but simple is also an art. I became more intelectual than I really want.
But today is for more and more. I have so many miles of cables in my study thats hard to make mantainace, backups, fixing, changing that its hard to make my own music.
Music becomes a heavy prodution, but not a heavy musical.
Zappa suffers a lot because he didnt found good and creative musicians that can read.
I always say that I make more money in the studio because most musicians do not comunicate very well. When each one is autodidact they develop his own language and much energy is wasted because they talk diffente language.
Remenbering that Classic is a period of time before the romantic (see te problem with language)
Its VERY hard to see a contemporary erudit composer that do not know a lot of eletronic music, usually they work as a professor and almost anyone heard their music, they live like monks if you compare to instant djays.
Its very stupid not study other genres. The kind of think like: I do not know and I do not care, is very poor.
So the ideal is to know all kind of muscic (I love ethnic) because than, only than, you could know what you love most and than you can do something richier bacause you hava bagage.
When rappers go to studio I always sugest tp play an instrument and when they do play you think that they wanna play rapps? Of course not.
So a bluesman play music, a guitarrist plays guitar and a musician is the music.
Different styles and different musicians are the things that made us a better musician.
I do not understand why peolple need to make a scale of value total subjective. Music is the oposit, you know what is rich, what is bad (and why), so no personal opinion, just a fact that you can prove.
So, all of you make me richier, in spirit

 

Personally I study classical even if I will never become an amazing pianist. I simply want to deeply understand the language of music and classical forms the basis of functional harmony. It certainly has a lot of lessons and techniques that we can all learn from. I simultaneously study the theory behind other genres because they also have something to add to the language. To compare them is to compare apples and oranges. I like your spirit because you may know music theory better than a lot of electronic musicians yet you don't feel the need to put them down and I really respect that. Music, like everything else, evolves and to close yourself off to that is to really miss out. Every piece of music, even in those genres we may not like, is absolutely brimming with lessons that can be gleaned from it. We just have to be objective and open-minded enough to hear them.