SOPP418: I am not sure what exactly the notes should be apart from the fact that the notes on the beat should be consonant

Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 418 of Secrets of Organ Playing Podcast. This question was sent by Ariane, and she writes:
 
I started hymn improvisation week 5 where I am playing 8th against the hymn tune. I am just not sure what exactly the notes should be apart from the fact that the notes on the beat should be consonant. Do they have to be steps or can you jump up and down?
 
V: So, imagine, Ausra, this is like a two voice counterpoint that she’s working on. One voice has the hymn tune, let’s say the right hand, and the left hand should play eighth notes, so two notes against one. And, she’s wondering what kind of notes to play. Right? Can you make leaps, or do they have to be stepwise motion, musically speaking?
 
A: Well, if you would create a melody in the right hand and the hymn tune would be in the left hand, then I would suggest that you wouldn’t use leaps, because leaps in the melody don’t always sound nice. But if it’s a bass, then leaps are more appropriate. So, it depends on the situation. What do you think about it?
 
V: If we look at the real piece of music, for example, “Basse de Trompette” that Couperin or de Grigny have created in the 18th century, we see that, as you say, trumpets in the left hand tend to have leaps much more often. Of course, they don’t usually, or not necessarily, move in eighth notes, but the principle is that you can create arpeggios more frequently in the left hand. In the right hand, I would say that if you need to use leaps, maybe compensate them by leaping downward, as well.
 
A: Well, that’s always the case in any given voice. Even in the bass, if you leap up, then you have to leap down.
 
V: Or even if you leap up, then resolve this to stepwise down. That’s better.
 
A: That’s right, because it sounds not as good if you leap twice in the same direction, or if after leaping in one direction, you move the voice in the same direction. It’s inappropriate.
 
V: So, by week 5 in the hymn improvisation course, Ariane can already play, I would say, four variations. Note against note: That’s two. Right hand has the hymn tune, and left hand has the hymn tune. And then, eighth notes against the hymn tune in week five, a couple of more versions. So, from one hymn tune, she could really create, probably, four minutes of piece, at least four minutes, because if she plays it slower than a hymn tune might last, more than one minute. Right?
 
A: That’s right, yes.
 
V: So, five minutes, just from improvising simple two voice counterpoint. I think it’s really an interesting technique and skill to have. Not only can she introduce the following hymn, but she could really start creating her own music.
 
A: Yes, I think that counterpoint is the basic of composition and of understanding how music is written.
 
V: I’m really glad that she is doing this and hopefully she can play it in public, maybe in  her church or for friends and family.
 
A: True.
 
V: Okay guys, so, if you want to take a look at this course, check out my “Organ Hymn Playing Master Course, Level 1.” It only deals with two voices, and we start with note against note counterpoint, of course, and progress through various subdivisions, and it gradually becomes faster and faster moving passages. Alright, thank you guys for listening. This was Vidas,
 
A: And Ausra,
 
V: And remember, when you practice,
 
A: Miracles happen!

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