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This document provides an overview of counterpoint principles as taught in Music 1649: Studies in Music Theory I. It defines counterpoint as the relationship between harmonically interdependent voices that have independent rhythms and contours. There are two types of counterpoint: simple, using only consonances, and diminished, allowing dissonances. The document outlines Palestrina's five species of counterpoint exercises and rules for voice leading, such as using perfect intervals for beginnings and endings and avoiding tritones. It also discusses modes as different arrangements of the white keys on a piano.
This document provides an overview of counterpoint principles as taught in Music 1649: Studies in Music Theory I. It defines counterpoint as the relationship between harmonically interdependent voices that have independent rhythms and contours. There are two types of counterpoint: simple, using only consonances, and diminished, allowing dissonances. The document outlines Palestrina's five species of counterpoint exercises and rules for voice leading, such as using perfect intervals for beginnings and endings and avoiding tritones. It also discusses modes as different arrangements of the white keys on a piano.
This document provides an overview of counterpoint principles as taught in Music 1649: Studies in Music Theory I. It defines counterpoint as the relationship between harmonically interdependent voices that have independent rhythms and contours. There are two types of counterpoint: simple, using only consonances, and diminished, allowing dissonances. The document outlines Palestrina's five species of counterpoint exercises and rules for voice leading, such as using perfect intervals for beginnings and endings and avoiding tritones. It also discusses modes as different arrangements of the white keys on a piano.
Musical centre Venice Readings all the way up to 6,7,8 Counterpoint - Counterpoint is the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. - Punctus contra punctum - “Musicians once composed with only a few dots or points. Hence they called this counterpoint. They placed one against another as we now place one note against another… “ - There are two kinds of counterpoint: simple and diminished. The simple is composed solely of consonances and equal note-values… placed against one another. Diminished counterpoint has dissonances as well as consonances, and many employ every kind of note-value, as the composer wishes Gioseffo Zarlino, Le istitutioni harmoniche (1558) He doesn’t grade the study of counterpoint gradually Johann Joseph Fux: 1660-1741 Palestrina: “the prince of music” Species counterpoint : i began, therefore, many years ago, to work out a method similar to that by which children learn first letters, then syllables, then combinations of syllables, and finally how to read and write” The five steps to Pamassus 1 first species: one against one 2 second species: two against one 3 third species: four against one 4 fourth species: two against one (sus pensions) 5 fifth species: florid counterpoint The “Palestrina style” Stile antico… - Uses a cantus firmus (preexisting melody) - Emphasis is on the melodic dimension (modal variety) - Highly controlled use of dissonance - Vocal style of composition (mostly stepwise motion) The modes Different ways of partitioning the white notes on the keyboard - Ionian - the positionings of the half steps (a major scale) - Dorian - half step between 2 and 3, and between 6 and 7 - Phrygian - half steps between 1 and 2 , and between 5 and 6 (the metal guitar mode) - Lydian ……………………… etc The rules
Intervals Motions 1. Perfect to perfect Contrary or oblique
2. Perfect to imperfect Direct, contrary or oblique
3. Imperfect to perfect Contrary or oblique
4. Imperfect to imperfect direct , contrary or oblique
ome more rules…. S Use perfect consonances at beginning and end Don’t begin with P5 when counterpoint is below c.f. Use M6/m3 in penultimate measure Beware of hidden fifths (p.32, fig7) Avoid melodic tritones (diabolus in musica) Avoid large uncompensated melodic leaps Avoid skipping onto the P8 or P1 (unintentional downbeats)