cherubini_counterpoint_and_fugue:preliminary_propositions [Bondari Wiki]

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====== Preliminary Propositions ======
===== Upon concords which should be employed in strict counterpoint =====

The ancient composers, since Guido Aretino's ((Guido d'Arezzo)) time, have admitted only two //perfect// concords ((consonances)): the //octave// and the //perfect fifth//; and two imperfect concords ((consonances)): the //third// and the //sixth//.

The first are called perfect because they are immutable. The second are called imperfect because they admit of being altered, and may be either major or minor.

===== Upon discords to be employed in strict counterpoint =====

The discords ((dissonances)) are: the //second//, the //fourth//, the //seventh//, and the //ninth//. These discords ((dissonances)) can only be employed when prepared by a concord ((consonance)), and resolved by another, unless they are used "passingly", of which we shall hereafter speak.

The //imperfect fifth//, and the augmented fourth, or //tritone//, were rejected by the ancients; they should, therefore, only be employed in strict counterpoint, as passing discords ((dissonances)).

> **Observation** -- I here state, once for all, that in speaking of modern strict counterpoint, I merely use the word "modern" in reference to the tonal system; but, as regards the chords themselves, I have invariably used those met with in the ancient authors, -- //viz//: the chord of the third and fifth, the chord of the third and sixth, and the discords ((dissonances)) above mentioned. It is only in treating fugue, that the pupil can allow himself more latitude.

===== Upon various kinds of movement =====

By the word "movement", the progression of one sound to another, is understood; either melodically, in a single part, or harmonically, where there are several parts at once. Melodically, //conjunct movement// is the name given to a succession of sounds proceeding gradually, thus: --

{{ :cherubini_counterpoint_and_fugue:ex001-1.png?800 |}}

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//Disjunct movement// is the name given to sounds succeeding each other by intervals: --

{{ :cherubini_counterpoint_and_fugue:ex002-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex002.mp3 | :cherubini_counterpoint_and_fugue:ex002.ogg |}}

Harmonically, "direct", "right", or //similar movement// is the name given to the progression of two or more parts ascending or descending in the same direction: --

> Direct movement in two parts

{{ :cherubini_counterpoint_and_fugue:ex003-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex003.mp3 | :cherubini_counterpoint_and_fugue:ex003.ogg |}}

> Direct movement in three parts

{{ :cherubini_counterpoint_and_fugue:ex004-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex004.mp3 | :cherubini_counterpoint_and_fugue:ex004.ogg |}}

//Contrary movement// takes place where one part ascends, while the other descends: --

{{ :cherubini_counterpoint_and_fugue:ex005-1.png?800 |}}

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When one or more parts ascend or descend, while one or more other parts remain unmoved, it is called //oblique movement//: --

> Oblique movement in two parts

{{ :cherubini_counterpoint_and_fugue:ex006-1.png?800 |}}

{{ :cherubini_counterpoint_and_fugue:ex006.mp3 | :cherubini_counterpoint_and_fugue:ex006.ogg |}}

> Oblique movement in three parts

{{ :cherubini_counterpoint_and_fugue:ex007-1.png?350 |}}

{{ :cherubini_counterpoint_and_fugue:ex007.mp3 | :cherubini_counterpoint_and_fugue:ex007.ogg |}}

> Oblique movement in four parts

{{ :cherubini_counterpoint_and_fugue:ex008-1.png?350 |}}

{{ :cherubini_counterpoint_and_fugue:ex008.mp3 | :cherubini_counterpoint_and_fugue:ex008.ogg |}}

The most elegant of these three movements is //contrary// movement; //oblique// movement holds the second rank; of //direct// movement sparing use should be made, because it gives rise to defects which will hereafter be pointed out.

It may be added, that in all species of counterpoint here treated of, as well as in fugue, the pupil should write for voices and not for instruments. It will therefore be necessary that he should conform to the natural compass of the different kinds of voices. He will find therein the advantage of learning to produce effects with voices alone, a study not only difficult, but too much neglected; and he will afterwards find himself much more at ease, in writing for instruments, when he will no longer be obliged to restrain himself within the limits of the voice.