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| cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2018/06/14 03:25] – brian | cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2020/01/21 19:57] – brian | ||
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| In order to render the effect less harsh in the succession of these two chords -- as it is impossible to destroy it entirely -- a softening expedient of protraction must be found without employing other chords. The means are simple; it must be so managed, that the part which has struck the C-natural must cause the altered C to be heard. | In order to render the effect less harsh in the succession of these two chords -- as it is impossible to destroy it entirely -- a softening expedient of protraction must be found without employing other chords. The means are simple; it must be so managed, that the part which has struck the C-natural must cause the altered C to be heard. | ||
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| These examples are in conformity with the rules of strict counterpoint of the first order. Imperfect concords ((consonances)) are employed with variety, and more frequently than perfect concords ((consonances)). Direct, contrary, and oblique movement, are judiciously treated; the false relation of tritone is avoided; and the melody progresses through, diatonically, | These examples are in conformity with the rules of strict counterpoint of the first order. Imperfect concords ((consonances)) are employed with variety, and more frequently than perfect concords ((consonances)). Direct, contrary, and oblique movement, are judiciously treated; the false relation of tritone is avoided; and the melody progresses through, diatonically, | ||
| - | > **Observation** -- In order to put in practice all the rules above cited, the pupil will receive from his instructor a //cantus firmus// ((abbreviated as //C.F.//)), which he should first place in the bass, and upon which he should compose as many different melodies as he can invent, -- always employing alternately Soprano, Alto, and Tenor voices. Then he mus place this //cantus firmus// in the upper part, and compose to it several Basses. | + | > **Observation** -- In order to put in practice all the rules above cited, the pupil will receive from his instructor a //cantus firmus// ((abbreviated as //C.F.//)), which he should first place in the bass, and upon which he should compose as many different melodies as he can invent, -- always employing alternately Soprano, Alto, and Tenor voices. Then he must place this //cantus firmus// in the upper part, and compose to it several Basses. |
| This //cantus firmus//, which the pupil receives from his instructor, is also called the // | This //cantus firmus//, which the pupil receives from his instructor, is also called the // | ||