Hello! In the Practical Counterpoint course, we're moving on to working with three or more parts, which has implications both for the types of textures and harmonies you can create. One of the most interesting things that should come from this is a realization of just how much of what there is to know about harmony can be learned - and indeed, was originally developed - through the study of counterpoint. Those of you in the course will be experiencing this first-hand, but as always, everyone is welcome in the Music Master Class where we will be exploring these topics together.

Mastering MuseScore

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MuseScore Café

This week in the MuseScore Café with Marc Sabatella, we continue our first-Wednesday "ask me anything" series. Come with your questions, and I'll do my best to answer!

Tip of the Week

By default, Musescore connects the barlines of related instruments in a score according to common notation standards. But there are times when you want to connect barlines between staves that are not connected by default or break some connections that do exist. In this video post, I show you how to connect and disconnect barlines between staves.

Musicianship

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Music Master Class

This week in the Music Master Class with Marc Sabatella, we'll be looking at examples of counterpoint in three or more parts and discussing the course material from Practical Counterpoint.

In Theory

Counterpoint courses - including mine - often start by breaking the relationship between parts into different "species" in terms of how many notes in one part are heard against a single note of another. The presentation of this material often lacks context that would help people understand the practical value of this approach, however. In this video post, I show how one of the most famous pieces of contrapuntal music there is - Pachelbel's Canon in D - provides a textbook demonstration of each of the different species of counterpoint.