Chapter 2: Counterpoint and Galant Schemas
- Page ID
- 232613
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 2.1: Introduction to Species Counterpoint
- This page introduces species counterpoint, a method for writing melodies based on 16th-century music theory, covering consonance, dissonance, and types of melodic motion. Emphasizing the cantus firmus for melodic integrity, it presents rules for harmonic writing while stressing the importance of smooth lines, tonal unity, and controlled intervals.
- 2.2: First-Species Counterpoint
- This page discusses first-species counterpoint as a fundamental compositional practice for building independent melodies. It emphasizes rules such as starting and ending on perfect consonances, maintaining rhythmic and harmonic consistency, and avoiding specific musical pitfalls like parallel perfect consonances and voice crossing. The exercise encourages harmonic variety with imperfect consonances and diverse interval motion to enhance texture and independence in musical lines.
- 2.3: Second-Species Counterpoint
- This page covers second species counterpoint, focusing on a line that moves twice as fast as the cantus firmus, emphasizing strong and weak beats. Strong beats are consonant, while weak beats can vary. It discusses the importance of melodic independence and techniques to enhance counterpoint compositions, such as register changes and neighbor tones.
- 2.4: Third-Species Counterpoint
- This page explores third-species counterpoint, emphasizing a counterpoint line that moves four times faster than the cantus firmus, introducing new dissonances like dissonant passing and neighbor tones. It highlights the importance of rhythmic arrangement for smooth melodic motion and proper phrase structure with consonant conclusions. Dissonances are carefully employed through techniques such as double neighbors and nota cambiata.
- 2.5: Fourth-Species Counterpoint
- This page discusses the fourth species of counterpoint, focusing on suspension, which features consonant preparation, dissonant suspension, and consonant resolution. The counterpoint and cantus firmus move once per bar, introducing oblique motion and dissonance. It emphasizes the importance of suspensions categorized by intervals and encourages their liberal use while maintaining melodic smoothness.
- 2.6: Fifth-Species Counterpoint
- This page discusses the fifth species of counterpoint, which combines previous techniques with new embellishments like anticipations and eighth-note motion, making it sound more like real music. It retains the practice of starting with perfect consonances and ending with a clausula vera. Decorations to suspensions from the fourth species are included, and eighth-note motions are introduced on weak beats. Gradus ad Parnassum provides complete exercises and examples for applying these concepts.
- 2.7: Gradus ad Parnassum Exercises
- This page provides a guide to the cantus firmus exercises in Johann Joseph Fux's "Gradus ad Parnassum," covering sections for two, three, and four voices with 122 exercises. It includes editable files for exercises, solutions, and annotations, organized by modal final and pitch sequences. The document offers customization options for teachers and references Fux's original work for further reading.
- 2.8: 16th-Century Contrapuntal Style
- This page covers 16th-century contrapuntal music and Renaissance music's traditional mass sections. It emphasizes the educational value of contrapuntal principles, focusing on imitative techniques and guidelines for creating clear music and text. The discussion includes harmony in the era, avoiding parallel fifths, handling dissonance, and the inclusion of the Picardy third. Additional resources and assignments for studying imitative writing in this style are also provided.
- 2.9: High Baroque Fugal Exposition
- This page covers the fugue, an 18th-century contrapuntal music genre, detailing its opening exposition and key components like subject, answer, and countersubject. It discusses techniques for writing fugues, such as varying phrase lengths and controlling rhythmic flow, with emphasis on harmonic coherence. Examples, including a C minor fugue by Bach, illustrate these concepts, and readers are encouraged to explore online resources and complete assignments for practice.
- 2.10: Ground Bass
- This page explores ground bass compositions in Baroque music, focusing on techniques of re-harmonization and imitation, particularly through examples by Purcell. It differentiates ground bass from other forms and provides a systematic approach to composing such pieces, starting with diatonic harmonization and progressing to alternative harmonizations with varied phrase lengths.
- 2.11: Galant Schemas
- This page describes 18th-century music schemas as essential templates for composers in the Galant style, comprising melodic, harmonic, and rhythmic elements. They are categorized by function, including opening, continuation, and closing gestures, with examples like the "Meyer" and "Prinner." Familiarity with these schemas enhances composition and improvisation skills, encouraging creativity through embellishment and structural development.
- 2.12: Galant Schemas – Summary
- This page provides a comprehensive overview of musical schemas and structures, focusing on their notation and theory. It covers various schemas like Romanesca and Do–Re–Mi, alongside cadences such as Fonte and Monte, detailing their melodic, bass, and harmonic features.
- 2.13: Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences
- This page explores the "Rule of the Octave" for harmonizing scales, outlining a methodical approach from simple to complex harmony. It emphasizes the use of parallel chords, seventh chords, and suspensions while offering downloadable practice files in open and short scores. The focus is on hands-on practice and memorization of patterns, promoting exploration across various keys.