Counterpoint in Blue: For solo Guitar or two instruments - Tapa blanda

Sinopsis

This material was made for pedagogical purposes. The exercises could be studied and interpreted as little pieces. We also invite the reader to create his own compositions. Counterpoint and blues are the worlds I tried to fusion.The musical keys chosen for all sections of this book are: C, Am, A y Em.In the first section the exercises are composed on an original CantusFirmus in rounds for each tonality. The Pure Counterpoint Species are developed: I species (1 note against note), II species (2 notes against 1 note), III species (3 notes against 1 note), IV species (2 notes against 1 note in syncopation) and V Florid species where the rhythm is released on the CF. the four tonalities receive the same treatment.The second part addresses the Imitative Counterpoint, a technique that consists of imitating the antecedent to its consequent at a distance of one measure.For the third section the compositions are guided towards the Free Counterpoint, where dissonances are unleashed, leading the Pure Counterpoint to an artistic expression. So far all the examples are composed in the classic 12-bar blues form.Already in the last two sections, fourth and fifth, the musical forms Invention and Fugue, make the Counterpoint project in the composer's desired combinations to his own fantasy.To understand a little more we can say that the treatment of the so-called “blue notes” is combined here as if they were consonants between the voices, unthinkable in the school counterpoint treatises.On the other hand, the fact of starting with the I species gives the performer a practice progressively from less to greater difficulty. As previously stated, the musical work is composed of two voices. The examples can be played by a single player except for the inventions in C, A and Em and the fugue in A. Likewise, all the material can be interpreted by two players.Finally we can say that one of the most important objectives of the book is to bring the player closer to the blues through counterpoint, and vice versa, to counterpoint through blues.

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