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bridges_counterpoint:fourth_species_in_two_parts [2017/07/18 17:52] – Added a space underneath each image brian | bridges_counterpoint:fourth_species_in_two_parts [2018/01/30 18:31] (current) – brian | ||
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==== Rules 1-5 ==== | ==== Rules 1-5 ==== | ||
- | Two notes are here written in the counterpoint to every one of the //cantus firmus// with the exception of the first and last. The first bar of the counterpoint should commence with a half- bar's rest, the last bar should contain a note of equal value with the //cantus firmus//. | + | Two notes are here written in the counterpoint to every one of the //cantus firmus// with the exception of the first and last. The first bar of the counterpoint should commence with a half-bar' |
As in the preceding species, the first note of the counterpoint must be a perfect concord ((consonance)), | As in the preceding species, the first note of the counterpoint must be a perfect concord ((consonance)), | ||
- | The dissonances of the fourth, seventh, and ninth (not the second) may be used above the //cantus firmus//, the seventh being preferred in two-part counterpoint. The second and fourth may be used below the canto fermo, the second being preferred. | + | The dissonances of the fourth, seventh, and ninth (not the second) may be used above the //cantus firmus//, the seventh being preferred in two-part counterpoint. The second and fourth may be used below the //cantus firmus//, the second being preferred. |
- | There are cases when a perfect fifth must be treated as a discord, //viz.// when it is clearly a " | + | There are cases when a perfect fifth must be treated as a discord |
> In the retardation of a sixth in a minor key an augmented fifth is occasionally used, but this is rare (Ex. 40, //b//). | > In the retardation of a sixth in a minor key an augmented fifth is occasionally used, but this is rare (Ex. 40, //b//). | ||
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Some authors recommend the combination of the second and fourth species, instead of treating them separately. This is of course merely a development of par. 54 ((The interpolation of the second species is often most useful in other places besides when following a diminished fifth as above, helping us to avoid tiresome repetitions. The interruption of the syncopation should not exceed two minims.)). For an example, see Ex. 46. | Some authors recommend the combination of the second and fourth species, instead of treating them separately. This is of course merely a development of par. 54 ((The interpolation of the second species is often most useful in other places besides when following a diminished fifth as above, helping us to avoid tiresome repetitions. The interruption of the syncopation should not exceed two minims.)). For an example, see Ex. 46. | ||
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+ | ===== Musical Examples ===== | ||
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