Transcript Chapter 8

Chapter 8
Voice leading in two voices
Voice leading
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Term used to describe the linear aspect of
musical writing.
Species counterpoint
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An approach to vocal counterpoint through
the addition of contrapuntal voices to a
given melody (cantus firmus).
Species Counterpoint
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Used during the Renaissance
JJ Fux wrote book Gradus ad Parnassum
based on the music of Palestrina
Types of species
counterpoint
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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)
Cantus firmus
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Fixed melody
One phrase in length
Terminated by a melodic cadence
Serves as basis for other independent but
related contrapuntal melodies
Modes
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Dorian
Phrygian
Lydian
Mixolydian
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Later Aeolian and Ionian modes
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Motion types between voices
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Parallel
Contrary
Oblique
Similar
Summary of principles of first
species counterpoint
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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
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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.
Guidelines related to the
relationships between voices
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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.
Hidden fifths/octave
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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 voiceleading 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.
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