To maintain the independence of the lines and the smoothness of the entire passage (so no one moment is hyper-emphasized by a double climax), these climaxes should not coincide. Cambridge Studies in Music Theory and Analysis 2. When the voices are too far apart, tonal fusion is diminished. In general, try to keep the two lines within an octave where possible, and only exceed a tenth in “emergencies,” and only briefly (one or two notes). Like the cantus firmus, the counterpoint should have a single climax.
Harmony Richness Harmonic Definition Modulation 3. In first-species counterpoint, we not only write a smooth melody that has its own integrity of shape, variety, and goal-directed motion, but we also write a second melody that contains these traits. That new line contains one note for every note in the cantus: both the cantus firmus and the counterpoint will be all whole notes. They also diminish the independence of the lines. A single repeat/tie in the counterpoint is allowed, but try to avoid repeating at all. For example, if the upper part sings an E4, the lower part cannot sing an F4 in the following bar. Clicking on the 'Solution' link below will give one of many possible correct answers. To exemplify goal-oriented motion, the first-species exercise should begin and end with the most stable of sonorities: perfect consonances. In general, the counterpoint should follow the principles of writing a good cantus firmus. Thus, when writing a counterpoint above a cantus firmus, the first note of the counterpoint should be do or sol(a P1, P5, or P8 above the cantus). 181 0 obj << /Linearized 1 /O 183 /H [ 762 634 ] /L 174422 /E 7165 /N 42 /T 170683 >> endobj xref 181 16 0000000016 00000 n 0000000671 00000 n 0000001396 00000 n 0000001554 00000 n 0000001696 00000 n 0000002752 00000 n 0000002954 00000 n 0000003160 00000 n 0000003843 00000 n 0000004711 00000 n 0000004918 00000 n 0000005973 00000 n 0000006660 00000 n 0000006873 00000 n 0000000762 00000 n 0000001374 00000 n trailer << /Size 197 /Info 180 0 R /Root 182 0 R /Prev 170672 /ID[<62e57abbdb9a879444c30c6a345c012f><62e57abbdb9a879444c30c6a345c012f>] >> startxref 0 %%EOF 182 0 obj << /Type /Catalog /Pages 165 0 R /JT 179 0 R /PageLabels 163 0 R >> endobj 195 0 obj << /S 653 /L 726 /Filter /FlateDecode /Length 196 0 R >> stream
This includes both simple and compound intervals. In Ernst Kurth: Selected Writings, selected and translated by Lee Allen Rothfarb, foreword by Ian Bent, p. 37–95. The University of Kansas prohibits discrimination on the basis of race, color, ethnicity, religion, sex, national origin, age, ancestry, disability, status as a veteran, sexual orientation, marital status, parental status, gender identity, gender expression, and genetic information in the university's programs and activities. The final pitch of the counterpoint should be do, as in first species. If not, use the principles outlined above one-by-one to search for errors. Do not use more than three of the same imperfect consonance type in a row (e.g., three thirds in a row). Thus, they are far from ideal, and to be avoided in species counterpoint. Thus, when writing a counterpoint above a cantus firmus, the first note of the counterpoint should be do or sol (a P1, P5, or P8 above the cantus). %PDF-1.3 %���� The final note of the counterpoint must always be do (P1 or P8 above/below the cantus). When writing a counterpoint below a cantus firmus, the first note of the counterpoint must always be do (P1 or P8 below the cantus). "Foundations of Linear Counterpoint". The interval between the cantus and counterpoint at any moment should not exceed a perfect twelfth (octave plus fifth). Avoid voice overlap, where one voice leaps past the previous note of the other voice. In all cases, aim for a variety of harmonic intervals over the course of the exercise. Continue the alto voice in counterpoint with your answer. These melody lines are called voices, and a piece of music can have counterpoint between two, three, four, or more voices. However, unisons should only be used for first and last intervals. Degree Requirements, Master of Music Education (M.M.E.)
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