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Species Counterpoint

Species Counterpoint. Chapter 8. Vocabulary. Voice leading Linear aspect of music (melodies) Species counterpoint Composition in Renaissance style Cantus Firmus Fixed melody Finishes with a cadence Counterpoint A second voice that accompanies the cantus firmus. Species Counterpoint.

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Species Counterpoint

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  1. Species Counterpoint Chapter 8

  2. Vocabulary • Voice leading • Linear aspect of music (melodies) • Species counterpoint • Composition in Renaissance style • Cantus Firmus • Fixed melody • Finishes with a cadence • Counterpoint • A second voice that accompanies the cantus firmus

  3. Species Counterpoint • First species • One note in the counterpoint for each note in the cantus firmus • Second species • Two notes in the counterpoint for each note in the cantus firmus • Third species • Four notes in the counterpoint for each note in the cantus firmus • Fourth species • Tied notes in almost every bar (often suspensions) • Fifth species • Florid counterpoint (combines the other 4 species)

  4. Modal Scales • Dorian • Begins on 2nd scale degree of major scale • Phrygian • Begins on 3rd scale degree of major scale • Lydian • Begins on 4th scale degree of major scale • Mixolydian • Begins on 5th scale degree of major scale • Aeolian • Begins on 6th scale degree of major scale • Same as natural minor scale • Ionian • Begins on 1st scale degree of major scale • Same as major scale

  5. Melodic Characteristics • Ascend to single climax tone and then descend • Avoid two successive leaps in the same direction unless they outline a triad • Never leap by diminished or augmented intervals or by a 7th • No leaps larger than an octave • Avoid repeated figures, sequences, and melodic segments that outline a tritone • Total range of melody should not exceed a 10th

  6. First Species Counterpoint • One note in the counterpoint for each note in the cantus firmus • Counterpoint above the cantus firmus • Begin with a P1, P5, or P8 • End with fixed formula for mode (See Figure 8.17) • Counterpoint below the cantus firmus • Begin with a P1 or P8 • End with fixed formula for mode (See Figure 8.17) • Allowable intervals • M3, m3, P5, M6, m6, P8, M10, m10

  7. Types of Motion • Contrary • Voices move in opposite directions • Oblique • One voice stays the same while the other moves • Similar • Both voices move in the same direction • Parallel • Both voices move in the same direction with the same interval

  8. Basic Principals for Voice Leading:First Species Counterpoint • From one perfect interval to another perfect interval • Contrary or oblique motion • From a perfect interval to an imperfect interval • Similar, contrary, or oblique motion • From an imperfect interval to a perfect interval • Contrary or oblique motion • From an imperfect interval to another imperfect interval • Contrary, parallel, similar, or oblique motion • Use no more than two tied or repeated notes in a single exercise • Avoid long passages in parallel motion

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