Transcript Species_Counterpoint

Species Counterpoint
An introduction to the principles of voice
leading
In this Unit...
Write first, second, third, fourth, and fifth species
counterpoint to a given cantus firmus
Write a cantus firmus in a given mode
Identify modes used in a given cantus firmus
Learn the 7 modes and be able to write them out
from a given pitch
Be able to play/sing a cantus firmus with counterpoint
Terminology...
Voice Leading
Fourth Species
Species Counterpoint
Fifth Species
Cantus Firmus
Modal Scales
First Species
Final
Second Species
Musica Ficta
Third Species
Nota Cambiata
Voice Leading
Music can be looked at both horizontally and
vertically.
When analyzing chords and assigning roman
numerals, we looked at music vertically.
Voice Leading describes the linear, or horizontal,
aspect of writing music
Lets Look at this excerpt both
horizontally and vertically
Species Counterpoint,
what is it?!
Counterpoint is a second voice that accompanies a
primary voice (melody). This voice is interesting and
can stand on its own independently. (polyphony)
Species Counterpoint is an approach to learning the
principles of voice leading by adding a secondary
voice to a cantus firmus.
Five stages that get increasingly more complicated
as we progress from the first to the fifth species.
Before we jump into writing
counterpoint, let’s take a
second to discuss the “cantus
firmus”
Cantus Firmus - a fixed melody, one phrase in
length complete with a climax tone and cadence.
The Five Species...
First Species
One note of counterpoint for every note of the
cantus firmus
Second Species
Two notes for every note of the cantus firmus
Third Species
Four notes for every note of the cantus firmus
Fourth Species
a.k.a. the syncopated species, utilizes tied notes
against the cantus firmus
Fifth Species
Uses elements from the first four species
counterpoint
Some Music History...
Principles were first written down by Johann
Joseph Fux in 1725.
“a simple method by which the novice can progress
gradually, ascending step by step to attain mastery
in this art”
Haydn, Mozart, and Beethoven
Cantus Firmus
YES YOU “CAN”
The Cantus Firmus
Can be written in any of the seven modes.
Always ends and begins on the starting pitch of the mode known as the “final”.
Mostly step-wise motion.
Do not use successive leaps unless they outline a triad.
Augmented, diminished, and seventh intervals are not permitted melodically
Use Bb to get rid of the tri-tone between F-B.
Use at least three measures between F-B.
Range should rarely be larger than an octave, fifth is typical, 11th is too big.
Avoid repeated figures, sequences, and melodic segments that outline a tritone.
Write your own Cantus
Firmus
Follow the rules for writing a cantus firmus to write
a melody that is 10 notes in length in the aeolian
mode.
Although modes can be in any key, we are only
going to use the modes that share the C-Major key
signature.
Motion and
Consonance
The Four Types of
Motion
•
Contrary – Different Direction
•
Parallel – Same Direction, Same interval
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Similar – Same Direction, Different interval
•
Oblique – One note is tied in the counterpoint
Consonance
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Dissonance:
•
•
2nds, 4ths, 7ths
Two Types:
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Perfect – P1, P5, P8
•
Imperfect – m3, M3, m6, M6,
Writing the Counterpoint
•
Its not too bad…
Starting the
Counterpoint...
•
If the counterpoint is above the C.F. start with a P1,
P5, or Octave.
•
If the counterpoint is below the C.F. start with a P1
or Octave.
Ending the
Counterpoint…
•
Take a look at some cadences and make three
observations:
Ending continued…
•
The raised leading tone is known as the ‘musica
ficta’
•
When using the musica ficta, do not use the natural
form of the note within four notes of it.
Now the stuff in the
middle…
•
All the rest of the notes in the counterpoint must be
one of the following intervals:
Easy, right?
There are just a few rules
we have to follow…
Fux’s Four Basic
Principles for Voice
Leading in First Species
•
1. From one perfect consonance (P1, P5, P8) to another
perfect consonance use contrary or oblique motion
•
2. From a perfect consonance to an imperfect
consonance, use similar, contrary, or oblique motion
•
3. From an imperfect consonance to a perfect
consonance, use contrary or oblique motion.
•
4. From an imperfect consonance to an imperfect
consonance, use contrary, parallel, similar, or oblique
motion.