On The Application Law Of The Harmonic Thinkingin The Composition Of Double-Counterpoint

The technique of double-counterpoint is one of the most important compositional methods,besides, it is also the most difficult part to comprehend in the study of counterpoint.Counterpoint and harmony are never separated in history. Harmonics originals from the practices of counterpoint and which in turn influences the formation and practices of the writing of counterpoint, and gradually brings counterpoint into its own control. The result of this process is the appearance of the prosperity of Baroque polyphony. Since the modern time, counterpoint and harmony become two separate subject of study, the result of which is that one is comprehended as conflicting with the other, thus producing an error in judgment and the difficulty in study .Based on above facts, in part 1 the author combs out the relationship between harmonics and counterpoint method, and then divides counterpoint into three kinds of states. Each state of counterpoint has their own corresponding concept of harmony. These correspondences are listed as follow: interval counterpoint - interval harmony, mode counterpoint - mode harmony, tonality counterpoint- tonality harmony. Among these three correspondences, the division of interval counterpoint is a new viewpoint toward the division of counterpoint; the author also reveals and proves the inevitability of the guiding function of harmonic thinking in the composition of counterpoint. In part 2, the author has a discussion of the composition of double- counterpoint from the angle of harmonic rhythm and harmonic processing. Firstly, the author designs a complete set of the changing chart of the double - counterpoint of chords according to the law of chords formed in the combination among the melodies of the contrapuntal texture, and builds up a interrelated corresponding system. Then, the author makes a nature-determining and quantity-determent analysis and comparison between the changing forms of the chord processing in examples of musical score before and afterdouble-counterpoint, thus disclosing to the readers the application law of the harmonic thinking in the composition of double-counterpoint. The changing law of the chord processing before and after the double-counterpoint is regarded and pointed out by the author as a new compositional theory of double -counterpoint, namely, to control the use of variables such as pitch class, interval, mode and tonality etc before and after counterpoint through the changing law of the chord processing. In a word, the author proposes to work out the composition of double-counterpoint by the use of harmonic thinking.