Differences

This shows you the differences between two versions of the page.

Link to this comparison view

cherubini_counterpoint_and_fugue:two_part_counterpoint:fifth_order [2018/06/18 10:19] (current)
brian created
Line 1: Line 1:
 +====== Two-Part Counterpoint ======
 +===== Fifth Order: Florid Counterpoint =====
  
 +This order ((species)) is one composed of the four preceding orders, employed alternately in the part which forms the counterpoint;​ and in addition to the characters of notation already recognized, quavers ((eighth notes)) and dotted minims ((dotted quarter notes)) are included.
 +
 +==== Rule 30 ====
 +
 +Quavers ((eighth notes)) should succeed each other by conjunct movement, and rarely by disjunct movement. In order to follow the style of the ancient composers, no more than two quavers ((eighth notes)) should be placed in each bar. These quavers ((eighth notes)) must never occur in the first half of the sub-division,​ but in the second.
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex076-1.png?​400 |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex076.mp3 | :​cherubini_counterpoint_and_fugue:​ex076.ogg |}}
 +
 +If four quavers ((eighth notes)) be employed in a bar, they should be distributed between the two latter halves of each sub-division,​ and not follow each other consecutively.
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex077-1.png?​600 |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex077.mp3 | :​cherubini_counterpoint_and_fugue:​ex077.ogg |}}
 +
 +In general, it is well to use this character sparingly, and not to multiply quavers ((eighth notes)) too much; else, the counterpoint becomes too jumping, and uncongenial with the style appropriate to this kind of composition. Otherwise, quavers ((eighth notes)) are subject to the same laws that govern crotchets ((quarter notes)), as regard passing discords ((dissonances)). It will be seen, hereafter, how they are to be employed with respect to prepared discords ((dissonances)).
 +
 +==== Rule 31 ====
 +
 +Care should be taken to give as much elegance as possible to the melody, without perverting the severe character of the style which distinguishes strict counterpoint. It will not be out of place, to repeat here, that contrary ​ and oblique movement -- and consequently syncopation -- are the best means to employ for ensuring elegance in florid counterpoint. It is likewise essential, that when employing all the admitted characters of notation, they should be interspersed with tact, in order that a too-frequent recurrence of the same forms may be avoided.
 +
 +==== Rule 32 ====
 +
 +The dot serves as a diminution to the semibreve ((whole note)), inasmuch as it converts it first into a dotted minim ((dotted half note)), and then into a crotchet ((quarter note)), or two quavers ((eighth notes)).
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex078-1.png?​600 |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex078.mp3 | :​cherubini_counterpoint_and_fugue:​ex078.ogg |}}
 +
 +Diminutions or variations of this kind, may also occur in syncopations,​ and by their means, the duration of the discords ((dissonances)) is lessened. These diminutions give much grace to the melody.
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex079-1.png?​700 |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex079.mp3 | :​cherubini_counterpoint_and_fugue:​ex079.ogg |}}
 +
 +==== Rule 33 ====
 +
 +The counterpoint in this order ((species)) is subject -- with respect to the penultimate bar -- to the same rule as in the preceding order ((species));​ Rule 28 should therefore be consulted, where mention is also made of the first bar, which should be similarly treated in florid counterpoint.
 +
 +> Two completed examples of florid counterpoint
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex080a-1.png?​800 |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex080a.mp3 | :​cherubini_counterpoint_and_fugue:​ex080a.ogg |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex080b-1.png?​800 |}}
 +
 +{{ :​cherubini_counterpoint_and_fugue:​ex080b.mp3 | :​cherubini_counterpoint_and_fugue:​ex080b.ogg |}}
  • cherubini_counterpoint_and_fugue/two_part_counterpoint/fifth_order.txt
  • Last modified: 2018/06/18 10:19
  • by brian