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About Clare Redfarn
Expertise
All aspects of the academic/theoretical side of music, including harmony, counterpoint, elementary composition, history, harmonic analysis, aural training, sightreading - the lot! Please note: I'm neither a professional composer (so I can't help with composition beyond what's required for Grade 8 theory or A'level) nor a singing teacher (so I can't answer questions about vocal technique or extending your vocal range). And don't ask me about psychoacoustics or music psychology as I have no knowledge of, or interest in, either subject.
Experience
50 years as pianist (professional soloist and accompanist); 35 years as harpsichordist (professional soloist and continuist); 10 years as violinist and 6 years as bassoonist (youth orchestras/chamber groups); 37 years as piano teacher, coach in performance/interpretation (all ages, instruments and levels) and private tutor (mainly the old O'level, Grade VI+ ABRSM theory/practical musicianship, A'level and undergraduates).
Organizations
I've been a member of the Musicians' Union in Britain since 1978.
Publications
I've written many programme notes and a few articles for an online magazine. During the '90s I was also a Music Assessor for London Arts and as such regularly wrote critiques of concerts given by recipients of Arts Council funding.
Education/Credentials
MA in European Cultural Policy & Administration (Warwick University, 1994)
B Mus with Honours (London University, 1977)
Postgraduate Diploma in Arts Administration (City University, 1982)
Licentiate of Royal Academy of Music in Piano Teaching (1976)
Licentiate of Royal Academy of Music in Harpsichord Teaching (1978)
Studied RAM Junior School (1966-74), then as full-time student (1974-78).
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You are here: Experts > Music/Performing Arts > Musicians' Exchange > Musical Composition, Theory, Songwriting, and Singing > Counterpoint
Expert: Clare Redfarn - 11/3/2009
Question
I have a few questions: one how can I use counter point in a orchestral arrangement? two, what are some techniques I can use to change up the repetition of a certain song? Thank you so much!
Answer
Hello Emily, and thanks for being patient.
The counterpoint question is easy - if you've got one instrument/section playing the tune, have another instrument/section playing a second melody that goes with the main one. That's counterpoint. The countermelody could lie below the main theme, or above it (in which case it's a descant), it could come in after the main theme starts, in canon, it can include imitation, or it could have no features in common with the main theme (eg the piccolo/fife part in The Stars & Stripes).
As for your second question, are we talking about writing variations on a theme or merely how to vary repetitions of it? If it's the latter, then the obvious way is to harmonise it differently each time. You could also vary your accompaniment - block chords, flowing arpeggio figures, pizzicato strings? How about playing the theme at a different register - giving it to a bass instrument like the cellos or bassoons? If we're talking about variations on a theme, then each variation is self-contained so you can do things like changing the tonality from major to minor or vice versa, changing the time signature from simple to compound time or vice versa, altering the style of the piece - how about turning it into a tango? Or a minuet?
It's difficult to generalise without seeing what you've already done, but I hope I've given you some ideas. Get back to me if you need more help.
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