Near Matches
Ignore Exact
Everything
2
General Instructions for Species Counterpoint
(
thing
)
by
Alpheus
Fri Jan 19 2001 at 8:04:27
Species (or strict) counterpoint should ideally be written in the vocal clefs:
Soprano
,
Alto
,
Tenor
, and
Bass
. You may, while learning the very first basics of counterpoint, write in only the
treble
and
bass
clef
, but it is important for any good
performer
,
musicologist
,
conductor
or
composer
to be able to read every clef at sight.
Only the following harmonies are allowed:
major triad
in root position
first inversion of major triad
minor triad
in
root position
minor triad in
first inversion
and the first
inversion
of the
diminished
triad
Only one harmony is permitted within each measure, so each note must be:
A
chord tone
of a single
harmony
a
passing tone
a
neighboring tone
or a prepared
dissonance
.
Melodic movement is the motion of each individual part. Each part may only move at the following intervals, ascending or descending:
maj/min 2
maj/min 3
perfect 4
perfect 5
minor 6
octave
The melodic movement of the
octave
must always be arranged so that the note immediately preceding and following the octave lie within it.
No chromatics are allowed.
Movements forming
arpeggio
s should be avoided.
Movements of a seventh or greater in two skips are forbidden.
A note may not be successively repeated in the same part.
Your
composition
should be as scalewise as possible, although no single
exercise
scale should be more than an eleventh in total range.
Both the major and melodic minor scales should be employed.
Harmonic movement (or how the parts move together) is the true struggle of counterpoint. Movement is possible between any two parts in four ways and preferable in the first two:
Contrary
movement, in which the parts move in opposite directions
In
oblique
movement, in which one part moves while the others stands still
In
direct
movement, in the parts move in the same direction but not at the same interval
In
parallel
movement, in which the parts move in the same direction at the same
numerical
interval.
The parallel or contrary movement of
consecutive
fifths or octaves is strictly forbidden.
5ths or octaves which are arrived at by the direct motion of two parts are
forbidden
.
A
unison
must be approached by contrary or oblique movement except in two part first species: in this it is limited to the first and last measure.
More than 2 parallel 6th's or 3rd's are forbidden between any two parts.
Harmonic
sequence
s are not allowed, as they degenerate the philosophy of coutnerpoint.
No modulation which entails an accidental may be used.
The lowest voice must always begin and end on tonic.
The harmony of the first and last measure must always be
tonic
.
Never double the
leading tone
(7th). Ever.
Dissonances must be approached and prepared by contrary or oblique movement.
Never use a melodic formula twice in succession.
Don't cross the voices. Sometimes voice crossing may be permitted but the
composer
must never ever cross an upper voice with the
bass
voice; to do so would grant the upper voice an harmonic function, which it never has.
Counterpoint
passing tone
Two-Part First Species Counterpoint
January 19, 2001
major triad
neighboring tone
Mixolydian
music theory
Soprano
Inversion
Fugue
arpeggio
informal science survey
Faux-bourdon
6-4 chord
leading tone
chord tone
minor triad
Quantum teleportation
Polyphony
Polyphonic
mode
harmony
Tonic
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