Johann Fux “of the Renaissance” introduced the notion of counterpoint; a musical concept popularized by the world’s most influential composers, which maintains special treatment of relative pitches placed against one another on a score like an argument.
Consequently, the contrasting pitches create a texture that is distinctive; these methodologies were divided into categories of species that specify durations for pitches and harmonic rules which have been significantly altered by the aforementioned “influential composers.” An example of this divergence is found in the application of Second Species Counterpoint which conceptualizes a single whole note against a sequence of two half-notes, however, the time-duration is unanimously consolidated at a ratio that creates unintelligible melodies in classical music: For instance, Bach places eighth notes against sixteenth notes to imitate a “second species” rather than uphold its principle.
As a composer, I integrate the concept of multi-voice writing with the intended durations of the literary demonstrations for Counterpoint. I implore the public to consider the music that I derived though my adherence to the most restrictive methodology in music, and compare its innocence to the deviance of my predecessors’ contributions.
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