Tag Archives: counterpoint

Finding The Guide Tone Lines: “All The Things You Are”

Now that we’ve picked this tune apart in terms of structure, it’s time to find the actual guide tone lines. Now, granted  we could have done this from the get-go – our analysis of the piece was not completely necessary. … Continue reading

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The Mathematics of It All

If you are anything like me, you struggled with math in school. Oh, I could write like Faulkner or Hemingway, play the saxophone like Jimmy Dorsey, draw like Rodin or Picasso….but when it came to numbers, I was lost. Eventually, … Continue reading

Posted in baroque composers, changes, chord progression, contrary motion, counterpoint, Great American Songbook, guide tone lines, harmonic structures, mathematics, music theory, Orchestration, percussion, rhythm, rudiments, Shenkerian Analysis | Tagged , , , , , , , , , , , , , , , , , , , | 3 Comments

A Tale of Two Ditties

Actually, it’s two versions of the same ditty – in this case, the Harry Warren example we’ve been working with so far. You’ll remember the first version in which we simply used the guide tone lines. Here’s what it looks … Continue reading

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Point and Counterpoint – and Being Contrary

Before we attempt to apply counterpoint to the second ending of the “A” section of our example,  I’m going to go through a brief refresher course (or introduction, for you newbies) as to what counterpoint actually is. After all, “counterpoint” … Continue reading

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Guide Tone Lines In Action, Part 3 – Colors of the Winds

So – what’s wrong with the guide tone line in the second ending in terms of orchestration? Nothing, provided we drop the line an octave. In simplest terms, the second ending of the “A” section in the current example (Harry … Continue reading

Posted in Big Bands, cadence, changes, chord progression, common tones, counterpoint, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Improvisation, Orchestration | Tagged , , , , , , , , , , , , , , , | 1 Comment