Timeline for The relation between voices in piano pieces
Current License: CC BY-SA 4.0
6 events
| when toggle format | what | by | license | comment | |
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| Jun 4 at 13:31 | comment | added | Michael Curtis | Another thing to keep in mind: in a homophonic piece there very often are passage following a contrapuntal texture for a short time. A common thing is to begin a section, ex. the beginning of a sonata development, with a fugal style entry of voices, or some other kind of imitative texture. After a few such entries the music often segues back to a homophonic texture. | |
| Jun 4 at 13:28 | comment | added | Michael Curtis | @user98606 for a sonata the typical texture will be homophonic. But remember, your original question was about the number of voices. It isn't a case of homophonic style doesn't use counterpoint rules, it just doesn't have independent voices. In terms of "rules" homophonic style still adheres to good voice leading with special attention to the outer voices of bass and soprano (or bass and main melody.) | |
| Jun 3 at 23:06 | comment | added | Andy Bonner | @user98606 1) Note, counterpoint is its own stricter-than-usual set of rules (or sets, as you have various "species"). 2) Writing your own "real" pieces often comes in theory classes beyond the first year, or in composition classes. It's important to single out a period and genre that you're trying to emulate, as "rules" (practices) changed. | |
| Jun 3 at 21:04 | vote | accept | user98606 | ||
| Jun 3 at 21:04 | comment | added | user98606 | True sir -So if most of the choral and counterpoint harmony rules are not used in the genres that you mentioned . What actually should i consider and take care of when writing a for example sonata | |
| Jun 3 at 20:57 | history | answered | Michael Curtis | CC BY-SA 4.0 |