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How does one go about in learing to compose contrapunctually? I would like to learn this style, I think it would help me in my studies, but I'm unsure of how to go about it. I've taken Music theory classes, so it shouldn't be over my head two much.

Does anyone know of any good books or websites or any advice would all be greatly appreciated? Thanks

When you say you want to learn compose contrapuntally you're being a bit vague and that may be the result of insufficient knowledge. Contrapuntal music covers pretty much the entire spectrum of music history as most of us care about it, from the Rennaisance to the present. Do you want to write fugues that sound like Bach or something in a more contemporary idiom? You're asking this question for a reason so please tell us what is inspiring you to choose to compose contrapuntal music.

You say you've taken music theory classes. I found music theory covered a lot of the knowledge necessary to compose contrapuntally, especially the second year when specific forms were addressed. If your music theory knowledge extends only to four part harmonization then there is significantly more you could learn.

Some may suggest the Fux book. The Fux book was written about 300 years ago and covers various species of counterpoint (as they existed then). It's been slightly updated, but the overall focus is on musical practice of the Baroque. It may be useful for you, but I found it a bit strange and unnecessary.

In terms of actually composing contrapuntally I have just 3 points to make.

1. Write the strongest melodies you can. This includes counter themes. When you think you've written something really powerful , try rewriting it into something better, you may surprise yourself.
2. Work to be creative and elegant in your voice leading. This is what makes Bach's music great. As with point #1, if you come up with a contrapuntal idea that works well see if you can make it better.
3. Do follow the rules, avoid parallel 5th and octaves. Doubling a voice at the octave is OK, but that's something different. Parallel 5ths and octaves reduce perceived counterpoint because the parallel voices can be perceived as overtones. This is pretty much exactly what's happening when you double a voice at the octave, but then the effect is to enhance the one voice. The exception is to make parallel 5ths a deliberate effect. In which case they should be used a lot. In contemporary contrapuntal writing there aren't a lot of rules, the bottom line is does it sound good. The only way to get good at writing contrapuntally is by doing it. If you can find a teacher or someone to give you lessons that would be your best option.

It can't hurt to start sketching ideas. Try writing some canons. they're easy to write but hard to make interesting. Try writing some two and or three part inventions. Learn about fugue form and try composing some themes then maybe an exposition or stretto section. This is how you learn what works and what doesn't.

Good luck.

Thank you Steve for the information. Sandy B

The best advice I could give you would be to place some Bach fugue under your fingers. Then compare it to some of Beethoven's fugues as they explore more of the registers and voice leading possibilities.

The last movement of Mozart 41th symphony has quite an amazing short fugue at the end with 5 themes juxtaposed. He manage to do that by building his themes around a cantus firmus. Beethoven does the same with the gross fuge.

... and that short cantus firmus (theme) is just a little exercise/example from Fux's book on counterpoint. C D F E... just four notes... so simple.

Try to write things as simply as possible first, and then when you know that the counterpoint works, then go ahead and fancy it up a little (but make sure that when you add notes, they don't mess up the counterpoint).

The Fux book is great place to start.

thank you everyone, i will look into some of the things and pieces you mentioned.


To Steve, The last things we were learning in my music theory classes was secondary dominants and secodary diminished chords, also we were touching on borrowed chords a bit.

In a previous discussion someone placed a link to a downloadable book on counterpoint. I don't have the link handy anymore, but you can search the forums for older discussions on this topic (including several threads on Fux).