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bridges_counterpoint:second_species_in_two_parts [2017/07/13 18:57] – created brian | bridges_counterpoint:second_species_in_two_parts [2022/02/15 19:43] (current) – brian | ||
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===== Second Species in Two Parts ===== | ===== Second Species in Two Parts ===== | ||
- | ==== Two Notes to One ======= | + | ==== Two Notes to One ==== |
- | === Rules 1-5 === | + | ==== Rules 1-5 ==== |
Two notes are here written in the counterpoint to every note of the //cantus firmus//, with the exception of the first and last. The counterpoint usually begins on the second beat of the first bar, being preceded by a half-bar' | Two notes are here written in the counterpoint to every note of the //cantus firmus//, with the exception of the first and last. The counterpoint usually begins on the second beat of the first bar, being preceded by a half-bar' | ||
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Occasionally in the carrying out of a sequence, or to secure a flowing counterpoint, | Occasionally in the carrying out of a sequence, or to secure a flowing counterpoint, | ||
- | The immediate repetition of a note is forbidden in this and all species except" | + | The immediate repetition of a note is forbidden in this and all species |
- | === Rules 6-11 === | + | ==== Rules 6-10 ==== |
The unison is still to be avoided except at the first and last bars, though it may be used occasionally at the second part of the bar. | The unison is still to be avoided except at the first and last bars, though it may be used occasionally at the second part of the bar. | ||
- | Similar perfect concords (//i.e.// two fifths or octaves) on the accented beats of successive bars should not be used, the effect of consecutives being too apparent. Even on successive unaccented beats the use of these combinations is not recommended. Some authors permit the former if the inter mediate | + | Similar perfect concords (//i.e.// two fifths or octaves) on the accented beats of successive bars should not be used, the effect of consecutives being too apparent |
The parts may occasionally cross at the unaccented part of the bar in this and the other species of counterpoint yet to be explained. | The parts may occasionally cross at the unaccented part of the bar in this and the other species of counterpoint yet to be explained. | ||
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- | > The cadence at Ex. 21, //c//, involves a skip of a diminished fifth, and is not so frequently used as those at //a// and //b//. If the //cantus firmus// approaches the final from some other note than the supertonic (see Ex. 9 FIXME) a suitable cadence will of course have to be made. | + | > The cadence at Ex. 21, //c//, involves a skip of a diminished fifth, and is not so frequently used as those at //a// and //b//. If the //cantus firmus// approaches the final from some other note than the supertonic (see Ex. 9 ((see [[bridges_counterpoint: |
In this and the following species the student will do well to avoid three successive skips, even of a third, in the same direction; and the frequent use of the three notes of a triad in succession, without change of harmony, is not recommended. | In this and the following species the student will do well to avoid three successive skips, even of a third, in the same direction; and the frequent use of the three notes of a triad in succession, without change of harmony, is not recommended. | ||
- | ==== Musical Examples ==== | + | ===== Musical Examples |
In triple time this species has three notes to one, the //cantus firmus// being dotted. The second and third notes in each bar may be either consonant or dissonant. | In triple time this species has three notes to one, the //cantus firmus// being dotted. The second and third notes in each bar may be either consonant or dissonant. | ||
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- | ==== Observations on Examples 22-29 ==== | + | ===== Observations on Examples 22-29 ===== |
Wide skips are avoided, even the minor sixth being seldom used. At //a// in Ex. 22 it is rendered necessary by the leap of a fifth in the //cantus firmus//. The skip of an octave (see Ex. 27 and 29) is not only unobjectionable but frequently gives great vigour to the counterpoint. | Wide skips are avoided, even the minor sixth being seldom used. At //a// in Ex. 22 it is rendered necessary by the leap of a fifth in the //cantus firmus//. The skip of an octave (see Ex. 27 and 29) is not only unobjectionable but frequently gives great vigour to the counterpoint. |