[dead] Finding Chords to Match the Notes In Your Melody: A Manual for Songwriters and Musicians

We have seven separate studies in music:
1-Theory [Which must be separated into *3 parts]:
*Elementary bases, *Rhythmics and *Hearing and Melodic Writing
2-Harmony
3-Counterpoint
4-Orchestration
5-Organology
6-History
7-The instrument you choose, including voice.

Therefore, when beginning the study of counterpoint it is necessary to be aware of what is really counterpoint, and what are the differences between counterpoint and harmony:

COUNTERPOINT
1-Independent superposition of the melody line (the best musical examples: Bach)
2-All voices must have the same melodic importance
3-The result is polyphonic, above two voices, the opposite is only one 'Cantus Firmus', which is the basis of the counterpoint from 'Fux'. The horizontal aspect prevails
5-Each voice has a distinct and individual idea
6-The main concern is with the melody

HARMONY
1-Chord succession, but it can have an independent melody line.
2-In general, one voice is more important melodically
3-Homophony. The vertical aspect prevails
4-The sum of the voices conveys a single idea
5-The main concern is how the treatment of dissonances inside the homophony create tensions and effects, that in jazz will be suspended
The same 'Music Harmony System' of Bach, Mozart, Beethoven, Chopin, Mahler, Debussy, Ravel, Stravinsky and all the others is exactly the same as Duke Ellington, Count Basie, Errol Garner, Scott Joplin and all that Jazz, the difference is that the dissonances in the Jazz will not be dealt with and solved, and the famous Perfect Authentic Cadence (V-I , when the same note of soprano must be the same of bass), is abandoned in the Jazz genre and all its stylistic aspects, like for example the song that finishes with the 7th or 9th major or finish committing 5th or 13th minor.

Notes that make up the music harmony are 4 (SATB):
1- Soprano or Alto ('Alto' just means 'High') = that comes from the word 'Superioris'

2- Contra-Soprano = pure definition by hierarchy, to be against, below who is on top, that in the case is the 'Soprano'. Later 'Contra-Soprano' will be called 'Contralto' in italy, and the world will copy the word without knowing what it means , what they do even today in all languages. The essence is not important, but the immediate result.

3- Tenor (comes from 'Tenere' that just means 'Hold') = that it is precisely that fixed bass voice note that we hear in the 'Gregorian Chant' and will gain independence, rhythmic and melodic, until it's solo power in the masculine voice.

4- Bass (low, under, basis) = which stays on the ground, who gets under everyone, on the basis.

In the 19th century, it will enter into harmony with 5 voices with the 'Baritone' under the tenor. Debussy, Ravel, Brahms, Scriabin, Stravisnky.

COUNTERPOINT
The main difference between counterpoint and harmony lies in the emphasis. In the counterpoint, the melody gives rise to the chords, that is, the chords are a consequence of the superposition of the melodic lines. 3 years of study and "it appears by magic".

Mozart didn't use counterpoint in his music, but, when he composed his famous Requiem, he knew what to do, a master piece, simply wonderful.
Vivaldi composed a lot of music without using this technique of counterpoint, but, when he uses it, the music is another, wonderful, it appear to the top.

Sometimes I hear two guitarrists playing, even in Metal, someone have done the counterpoint for two voices for them, the solos are amazing, and I'm sure that many of them studied counterpoing to that.

HARMONY
In harmony, the chords dictate the movement of the individual melody lines. The 'Renaissance' music was basically linear, except for the cadences, without concern for the harmonic function.

Of course we can do lots of good music without counterpoint, free way compose and also without harmony, music even can be only rhythm.