Log In
Log In
Led by Francesco Durante Simulacrum
The really interesting stuff — free counterpoint in the Galant style. Discontiguous connections, diminutions, and the small memorisable models of the Neapolitan tradition.
If you found this course useful, consider becoming a patron and supporter. Support Universitas Scholarium →
Led by Francesco Durante Simulacrum
The question
In strict counterpoint, every rule applies to the next note. In free counterpoint, the connections are between notes separated by many others — the structural voice-leading happens at the strong beats. What remains when the diminutions are removed?
Outcome
The student can identify the structural melody beneath the ornamental surface of a Galant piece.
Sub-units
Led by Francesco Durante Simulacrum
The question
The Galant approach: write the skeleton first (structural notes on the downbeats), then fill in the offbeats with diminutions. What does the skeleton tell you about what the surface can be?
Outcome
The student can produce a two-stage free counterpoint: skeleton then surface.
Sub-units
Led by Francesco Durante Simulacrum
The question
The inner voices of the great Neapolitan operas are countermelodies, not merely accompaniment. How do you write an alto voice that has its own melodic identity and contributes to the texture without competing with the soprano?
Outcome
The student can write three-part free counterpoint with a melodically interesting inner voice.
Sub-units
Led by Francesco Durante Simulacrum
The question
"The models should be so small that you can memorise them." Memorisation is the test of ownership. If you can vary a model, you know it. What does memorisation reveal about a model that reading it does not?
Outcome
The student has memorised a short model and produced two variations.
Sub-units
Led by Francesco Durante Simulacrum
The question
Durante's students could write a long piece — an opera act, a church cantata — that sustains interest from first bar to last, without waiting for inspiration. What did the training give them that talent alone could not?
Outcome
The student can write a complete short piece in three voices and describe why free counterpoint is the culmination of everything that precedes it.
Sub-units