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bridges_counterpoint:simple_counterpoint [2017/07/13 04:47] – Added the rest of the images and audio brian | bridges_counterpoint:simple_counterpoint [2017/07/27 17:31] – brian |
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{{ :bridges_counterpoint:01-ex01.png?200 |}} | {{ :bridges_counterpoint:01-ex01.png?200 |}} |
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{{ :bridges_counterpoint:01-ex01.mp3 | :bridges_counterpoint:01-ex01.ogg |}} | {{ :bridges_counterpoint:01-ex01.mp3 | :bridges_counterpoint:01-ex01.ogg |}} |
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> //Note:// The term "diminished" here includes the fifths and fourths sometimes called imperfect or minor. | > //Note:// The term "diminished" here includes the fifths and fourths sometimes called imperfect or minor. |
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{{ :bridges_counterpoint:01-ex02a.png?300 |}} {{ :bridges_counterpoint:01-ex02b.png?300 |}} | {{ :bridges_counterpoint:01-ex02a.png?300 |}} |
{{ :bridges_counterpoint:01-ex02a.mp3 | :bridges_counterpoint:01-ex02a.ogg |}} {{ :bridges_counterpoint:01-ex02b.mp3 | :bridges_counterpoint:01-ex02b.ogg |}} | |
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Consecutive perfect concords are of course forbidden, as are also hidden consecutives, //i.e.// the progression by similar motion to a perfect concord. The rule with regard to hidden consecutives is, however, sometimes relaxed: in the case of the octave if the upper part is approached by a semitone (Ex. 3, //a//), and in the case of the fifth if the hidden fifth be diminished. This is also produced by one part moving a semitone (Ex. 3, //b//), but this progression is hardly admissible in two-part counterpoint. | {{ :bridges_counterpoint:01-ex02a.mp3 | :bridges_counterpoint:01-ex02a.ogg |}} |
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| {{ :bridges_counterpoint:01-ex02b.png?300 |}} |
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| {{ :bridges_counterpoint:01-ex02b.mp3 | :bridges_counterpoint:01-ex02b.ogg |}} |
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| Consecutive perfect concords ((Parallel perfect intervals)) are of course forbidden, as are also hidden consecutives, //i.e.// the progression by similar motion to a perfect concord. The rule with regard to hidden consecutives is, however, sometimes relaxed: in the case of the octave if the upper part is approached by a semitone (Ex. 3, //a//), and in the case of the fifth if the hidden fifth be diminished. This is also produced by one part moving a semitone (Ex. 3, //b//), but this progression is hardly admissible in two-part counterpoint. |
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{{ :bridges_counterpoint:01-ex03.png?300 |}} | {{ :bridges_counterpoint:01-ex03.png?300 |}} |
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{{ :bridges_counterpoint:01-ex03.mp3 | :bridges_counterpoint:01-ex03.ogg |}} | {{ :bridges_counterpoint:01-ex03.mp3 | :bridges_counterpoint:01-ex03.ogg |}} |
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{{ :bridges_counterpoint:01-ex04.png?800 |}} | {{ :bridges_counterpoint:01-ex04.png?800 |}} |
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{{ :bridges_counterpoint:01-ex05.png?600 |}} | {{ :bridges_counterpoint:01-ex05.png?600 |}} |
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{{ :bridges_counterpoint:01-ex06.png?700 |}} | {{ :bridges_counterpoint:01-ex06.png?700 |}} |
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{{ :bridges_counterpoint:01-ex06.mp3 | :bridges_counterpoint:01-ex06.ogg |}} | {{ :bridges_counterpoint:01-ex06.mp3 | :bridges_counterpoint:01-ex06.ogg |}} |
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{{ :bridges_counterpoint:01-ex07.png?400 |}} | {{ :bridges_counterpoint:01-ex07.png?400 |}} |
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{{ :bridges_counterpoint:01-ex08.png?400 |}} | {{ :bridges_counterpoint:01-ex08.png?400 |}} |
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{{ :bridges_counterpoint:01-ex08.mp3 | :bridges_counterpoint:01-ex08.ogg |}} | {{ :bridges_counterpoint:01-ex08.mp3 | :bridges_counterpoint:01-ex08.ogg |}} |
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{{ :bridges_counterpoint:01-ex09.png?400 |}} | {{ :bridges_counterpoint:01-ex09.png?400 |}} |
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{{ :bridges_counterpoint:01-ex09.mp3 | :bridges_counterpoint:01-ex09.ogg |}} | {{ :bridges_counterpoint:01-ex09.mp3 | :bridges_counterpoint:01-ex09.ogg |}} |
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{{ :bridges_counterpoint:01-ex10.png?400 |}} | {{ :bridges_counterpoint:01-ex10.png?400 |}} |
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{{ :bridges_counterpoint:01-ex10.mp3 | :bridges_counterpoint:01-ex10.ogg |}} | {{ :bridges_counterpoint:01-ex10.mp3 | :bridges_counterpoint:01-ex10.ogg |}} |
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{{ :bridges_counterpoint:01-ex11.png?600 |}} | {{ :bridges_counterpoint:01-ex11.png?600 |}} |
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{{ :bridges_counterpoint:01-ex11.mp3 | :bridges_counterpoint:01-ex11.ogg |}} | {{ :bridges_counterpoint:01-ex11.mp3 | :bridges_counterpoint:01-ex11.ogg |}} |
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{{ :bridges_counterpoint:01-ex12.png?600 |}} | {{ :bridges_counterpoint:01-ex12.png?600 |}} |
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{{ :bridges_counterpoint:01-ex12.mp3 | :bridges_counterpoint:01-ex12.ogg |}} | {{ :bridges_counterpoint:01-ex12.mp3 | :bridges_counterpoint:01-ex12.ogg |}} |
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{{ :bridges_counterpoint:01-ex13.png?375 |}} | {{ :bridges_counterpoint:01-ex13.png?375 |}} |
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{{ :bridges_counterpoint:01-ex13.mp3 | :bridges_counterpoint:01-ex13.ogg |}} | {{ :bridges_counterpoint:01-ex13.mp3 | :bridges_counterpoint:01-ex13.ogg |}} |
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| ===== Musical Examples ===== |
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The following are examples of two-part counterpoint, first species: | The following are examples of two-part counterpoint, first species: |
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{{ :bridges_counterpoint:01-ex14.png?725 |}} | {{ :bridges_counterpoint:01-ex14.png?725 |}} |
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{{ :bridges_counterpoint:01-ex14.mp3 | :bridges_counterpoint:01-ex14.ogg |}} | {{ :bridges_counterpoint:01-ex14.mp3 | :bridges_counterpoint:01-ex14.ogg |}} |
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{{ :bridges_counterpoint:01-ex15.png?725 |}} | {{ :bridges_counterpoint:01-ex15.png?725 |}} |
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{{ :bridges_counterpoint:01-ex15.mp3 | :bridges_counterpoint:01-ex15.ogg |}} | {{ :bridges_counterpoint:01-ex15.mp3 | :bridges_counterpoint:01-ex15.ogg |}} |
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{{ :bridges_counterpoint:01-ex16.png?725 |}} | {{ :bridges_counterpoint:01-ex16.png?725 |}} |
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{{ :bridges_counterpoint:01-ex16.mp3 | :bridges_counterpoint:01-ex16.ogg |}} | {{ :bridges_counterpoint:01-ex16.mp3 | :bridges_counterpoint:01-ex16.ogg |}} |
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{{ :bridges_counterpoint:01-ex17.png?725 |}} | {{ :bridges_counterpoint:01-ex17.png?725 |}} |
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{{ :bridges_counterpoint:01-ex17.mp3 | :bridges_counterpoint:01-ex17.ogg |}} | {{ :bridges_counterpoint:01-ex17.mp3 | :bridges_counterpoint:01-ex17.ogg |}} |
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{{ :bridges_counterpoint:01-ex18.png?725 |}} | {{ :bridges_counterpoint:01-ex18.png?725 |}} |
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{{ :bridges_counterpoint:01-ex18.mp3 | :bridges_counterpoint:01-ex18.ogg |}} | {{ :bridges_counterpoint:01-ex18.mp3 | :bridges_counterpoint:01-ex18.ogg |}} |
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{{ :bridges_counterpoint:01-ex19.png?725 |}} | {{ :bridges_counterpoint:01-ex19.png?725 |}} |
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{{ :bridges_counterpoint:01-ex19.mp3 | :bridges_counterpoint:01-ex19.ogg |}} | {{ :bridges_counterpoint:01-ex19.mp3 | :bridges_counterpoint:01-ex19.ogg |}} |
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{{ :bridges_counterpoint:01-ex20.png?800 |}} | {{ :bridges_counterpoint:01-ex20.png?800 |}} |
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{{ :bridges_counterpoint:01-ex20.mp3 | :bridges_counterpoint:01-ex20.ogg |}} | {{ :bridges_counterpoint:01-ex20.mp3 | :bridges_counterpoint:01-ex20.ogg |}} |
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===== Observations on Examples 14-10 ===== | ===== Observations on Examples 14-20 ===== |
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**Ex. 14**: The four bars at a answer the first four effectively, and the sequence at //b// is good. The sequential form of the counterpoint justifies the somewhat too frequent octaves. | **Ex. 14**: The four bars at a answer the first four effectively, and the sequence at //b// is good. The sequential form of the counterpoint justifies the somewhat too frequent octaves. |
**Ex. 20**: This //cantus firmus// begins on the dominant. If the counterpoint were placed above, it would begin on G or D. With the counterpoint below, it is possible in this case to commence //with a fifth//, notwithstanding par. 2, which refers to //Canti Firmi// beginning (as is usual) on the tonic. | **Ex. 20**: This //cantus firmus// begins on the dominant. If the counterpoint were placed above, it would begin on G or D. With the counterpoint below, it is possible in this case to commence //with a fifth//, notwithstanding par. 2, which refers to //Canti Firmi// beginning (as is usual) on the tonic. |
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> The student should write similar examples in each species on some of the //canti firmi// given on page 80. :?: In doing this he should use such clefs as will bring the parts tolerably near together. He is also earnestly advised to write his exercises in open score, //i.e.// giving a separate line to each part. The progression of the individual parts — such an important consideration in counterpoint — will thus be readily seen. | > The student should write similar examples in each species on some of the //canti firmi// given on [[bridges_counterpoint:canti_firmi_for_exercises|Appendix 1]]. In doing this he should use such clefs as will bring the parts tolerably near together. He is also earnestly advised to write his exercises in open score, //i.e.// giving a separate line to each part. The progression of the individual parts — such an important consideration in counterpoint — will thus be readily seen. |
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^ Navigation ^^^ | ^ Navigation ^^^ |
| << [[bridges_counterpoint:definitions|Definitions]] | [[:bridges_counterpoint|Contents]] | [[bridges_counterpoint:second_species_in_two_parts|Chapter 2]] >> | | | << [[bridges_counterpoint:definitions|Definitions]] | [[bridges_counterpoint:contents|Contents]] | [[bridges_counterpoint:second_species_in_two_parts|Chapter 2]] >> | |