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Chapter 8

Chapter 8. Voice leading in two voices. Voice leading . Term used to describe the linear aspect of musical writing. Species counterpoint. An approach to vocal counterpoint through the addition of contrapuntal voices to a given melody (cantus firmus). Species Counterpoint .

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Chapter 8

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  1. Chapter 8 Voice leading in two voices

  2. Voice leading • Term used to describe the linear aspect of musical writing.

  3. Species counterpoint • An approach to vocal counterpoint through the addition of contrapuntal voices to a given melody (cantus firmus).

  4. Species Counterpoint • Used during the Renaissance • JJ Fux wrote book Gradus ad Parnassum based on the music of Palestrina

  5. Types of species counterpoint • First species 1 to 1 • Second species 2 to 1 • Third species 4 to 1 • Fourth species Ligature (using ties) • Fifth species - florid (combination of all other species)

  6. Cantus firmus • Fixed melody • One phrase in length • Terminated by a melodic cadence • Serves as basis for other independent but related contrapuntal melodies

  7. Modes • Dorian • Phrygian • Lydian • Mixolydian • Later Aeolian and Ionian modes

  8. Motion types between voices • Parallel • Contrary • Oblique • Similar

  9. Summary of principles of first species counterpoint • Stepwise motion prevails • A melody usually rises to a climax tone,then falls back in a descent. • Avoid two successive skips unless they outline a triad • Avoid melodic skips of a 7th and all diminished and augmented intervals. • Avoid melodic range of more than a tenth

  10. Avoid repeated melodic figures or sequences • Avoid segments that outline a tritone • Begin a counterpoint above the c.f. with 5 th or octave. Below with a unison or 8th. • Approach final by half step in one of the voices and whole step in other. • Keep a sharped note at least three measures away from its natural equivalent. • Tie whole notes may be used no more than twice per exercise.

  11. Guidelines related to the relationships between voices • M3,m3,P5,m6,M10,and m10 are the only allowable vertical intervals except for the beginning and ending of the exercise. • Parallel 8,5,and 1 are forbidden. Restrict parallel 3rds and 6ths to no more than 3. • Avoid hidden fifths or octaves except for occasional horn fifths.

  12. Hidden fifths/octave • A fifth or octave that is reached not in parallel but in similar motion is referred to as a hidden (covered) fifth or octave. This kind of voice-leading is usually admissible in four part writing except for certain extreme cases when large intervals are involved in both voices. • Horn fifths are common and entirely legitimate because they display the characteristic writing for natural horns.

  13. http://www.odu.edu/al/wbartolo/mod25.html

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