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bridges_counterpoint:second_species_in_two_parts [2017/07/16 23:22] – Added footnotes about parallel perfect intervals in the first-species brian | bridges_counterpoint:second_species_in_two_parts [2022/02/15 19:43] (current) – brian | ||
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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 ((The underlying first-species counterpoint reveals parallel perfect intervals.)). 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 underlying first-species counterpoint reveals parallel perfect intervals.)). Even on successive unaccented beats the use of these combinations is not recommended. Some authors permit the former if the intermediate |
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. | ||
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