bridges_counterpoint:fourth_species_in_two_parts

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bridges_counterpoint:fourth_species_in_two_parts [2017/07/27 17:33] – brianbridges_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's rest, the last bar should contain a note of equal value with the //cantus firmus//.
  
 As in the preceding species, the first note of the counterpoint must be a perfect concord ((consonance)), and the second note of each following bar must be a concord either perfect or imperfect. These concords are syncopated or suspended into the following bar. The first note of each bar is thus generally tied to the second note of the preceding bar, and may be, and in fact as often as possible should be, a discord. This prepared discord must resolve by falling one degree, the note to which it falls being a concord. Should the syncopated note, however, be a concord, we may of course move from it by skip. As in the preceding species, the first note of the counterpoint must be a perfect concord ((consonance)), and the second note of each following bar must be a concord either perfect or imperfect. These concords are syncopated or suspended into the following bar. The first note of each bar is thus generally tied to the second note of the preceding bar, and may be, and in fact as often as possible should be, a discord. This prepared discord must resolve by falling one degree, the note to which it falls being a concord. Should the syncopated note, however, be a concord, we may of course move from it by skip.
  
-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 "retardation" of a sixth. It will resolve by ascending one degree (Ex. 40, //a//).+There are cases when a perfect fifth must be treated as a discord ((dissonance)), //viz.// when it is clearly a "retardation" of a sixth. It will resolve by ascending one degree (Ex. 40, //a//).
  
 > 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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  • Last modified: 2017/07/27 17:33
  • by brian