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cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2018/06/13 18:50] – created brian | cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2022/02/10 19:58] (current) – brian | ||
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Two-part counterpoint is the more strict, both in the ancient and the modern system. The reason for this is plain: the fewer the difficulties to be vanquished, the more the rules must be severe. Two-part writing does not involve so many trammels, as a larger number of parts progressing together; so that the strictness of this kind of composition diminishes in proportion as the number of parts increase. | Two-part counterpoint is the more strict, both in the ancient and the modern system. The reason for this is plain: the fewer the difficulties to be vanquished, the more the rules must be severe. Two-part writing does not involve so many trammels, as a larger number of parts progressing together; so that the strictness of this kind of composition diminishes in proportion as the number of parts increase. | ||
- | ===== First Order -- Note Against Note ===== | + | ===== First Order: Note Against Note ===== |
==== Rule 1 ==== | ==== Rule 1 ==== | ||
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==== Rule 3 ==== | ==== Rule 3 ==== | ||
- | It is sometimes admissible to let the higher part pass beneath the lower part, always, however, taking care that they shall be in concord ((consonance)), | + | It is sometimes admissible to let the higher part pass beneath the lower part, always, however, taking care that they shall be in concord ((consonance)), |
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These two fifths are tolerated, because they are not of the same nature, and because the discord ((dissonance)) of which we have spoken, arising from perfect fifths in succession, does not take place in this ease. The old composers avoided this method in two-part counterpoint; | These two fifths are tolerated, because they are not of the same nature, and because the discord ((dissonance)) of which we have spoken, arising from perfect fifths in succession, does not take place in this ease. The old composers avoided this method in two-part counterpoint; | ||
- | ==== Rule 6 ==== | + | ==== Rule 6 ==== |
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+ | All movement should be either diatonic or natural, in regard to melody; and conjunct movement better suits the style of strict counterpoint than disjunct movement. Accordingly, | ||
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+ | > **Observation** -- This rule is a very wise one; and the ancient masters were all the more judicious in observing it, since they wrote for voices alone, without accompaniment. They thus obtained an easy and correct melody, where prohibited movement would have rendered it difficult of intonation. Nevertheless, | ||
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+ | With regard to movement which should be employed in the case of one part respectively with another, it is, as has been already said, contrary movement that should be preferred to oblique movement, and this latter, to direct movement. The last should be very seldom used; for even when all the rules are observed which have been laid down to evade the objectionable point would be incurred -- not positively contrary to rule, but contrary to good taste, good style, and the diversity of concords ((consonances)); | ||
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+ | This example offers throughout the same concord ((consonance)), | ||
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+ | > **Observation** -- As many as //three// thirds, or //three// sixths in succession, at the utmost, may be used; but to go beyond that number would be a wilful committal of pre-stated error. | ||
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+ | ==== Rule 7 ==== | ||
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+ | False relation of the octave, and of the tritone, between the parts, should be avoided; these two relations are harsh to the ear, -- especially that of the octave. | ||
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+ | > **Observation** -- Relation signifies the immediate affinity existing mutually between two sounds, successive or simultaneous. This affinity is considered according to the nature of the interval formed by the two sounds, so that the relation shall be true when the interval is true; it is false when there is alteration by excess or diminution. Among false relations, those only are included, in harmony, of which the two sounds do not equally belong to the key in which they occur. The diminished octave, or the superfluous ((augmented)) octave, is a false relation in melody as in harmony, however they may be used. The disagreeable effect if produces may be mitigated, but not entirely destroyed. The employment of this movement is therefore prohibited in melody:-- | ||
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+ | > False relations of the diminished octave and the augmented octave | ||
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+ | In harmony, the use of these octaves struck simultaneously, | ||
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+ | Nevertheless, | ||
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+ | In this case they consider the C-flat and the C-sharp but as passing alterations, | ||
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+ | It it a very great license, which is only just to be tolerated in a style of composition of the freest kind, but which should be rejected altogether in strict counterpoint. There exists another case, in which the false relation of the octave in harmony may be hazarded, between two different chords, as thus:-- | ||
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+ | The C-natural in Example 22, introduced with the first chord in the upper part, forms a discord ((dissonance)) with the C-sharp introduced into the second chord in the lower part. If the sense of hearing be consulted on the subject, it will be agreed that nothing can destroy, in this case, the impression which the ear has received from the sound of the C-natural; because it still lasts while the sound of the C-sharp is being struck, which produces nearly the same effect as if these two sounds were simultaneous. If reason be consulted, in its turn, it will be decided that the discord ((dissonance)) formed by these two sounds originates in their irrelevance, | ||
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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. | ||
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+ | By these simple means, and other expedients, somewhat similar, the unpleasant impression may be in a measure mitigated or rendered scarcely perceptible, | ||
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+ | The //tritone// is always, in melody, a false relation; besides being a prohibited movement (see Rule 6). | ||
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+ | This interval produces also a false relation in harmony, especially in two-part counterpoint of the first order, when these parts are disposed in such a way that this interval is visibly present. | ||
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+ | This interval is visibly present, when the two sounds of which it is composed are to be heard one after the other in the two parts, and when the chords which contain them cannot belong to the same key, either by their nature or by the manner in which they succeed each other:-- | ||
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+ | Care should be taken to avoid entirely such kind of relation, in two-part counterpoint more especially; and if they are not to be avoided, endeavour should at least be made so as to mask them, in disposing the part which forms the counterpoint, | ||
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+ | By the aid of these corrections, | ||
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+ | It now remains to be demonstrated, | ||
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+ | In order therefore to explain the course of this false relation, I take the major common chord of G, which I cause to be immediately succeeded by that of F:-- | ||
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+ | The succession of these two chords instantly generates the false relation of tritone. Firstly, because the first chord, supposing it to be considered as belonging to the key of C, naturally tends to proceed to the tonic or to the relative minor of A, and not to the sub-dominant. Secondly, supposing, on the contrary, that this same chord belongs to the key of G, the chord of F-natural which follows, becomes alien to it, since it would be requisite that the F should be F-sharp, in order that the analogy between these two chords should exist; and moreover this F-sharp ought to carry the chord of the sixth ((first inversion)). Thirdly, by the same process of reasoning, if the second chord be considered as belonging to the key of C, or to the key of F, in the former hypotheses, it would require to be followed and not preceded by the chord of G, and in the latter case, the B-natural of the chord of G, becomes necessarily and evidently alien to it, since by analogy this B should be flat. Thus then the F and B being in open contradiction, | ||
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+ | Consequently, | ||
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+ | ==== Rule 8 ==== | ||
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+ | Except at the first bar, and the last, imperfect concords ((consonances)) should always be introduced, in the course of composition, | ||
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+ | > Two completed examples of first-species counterpoint | ||
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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, | ||
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+ | > **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. | ||
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+ | This //cantus firmus//, which the pupil receives from his instructor, is also called the // | ||
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+ | There will be found at the end of this treatise, several different //canti firmi//, for each of the orders of counterpoint, | ||
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+ | When placing the //cantus firmus// in the upper part, the pupil should employ the voice best adapted to this plain-song; and sometimes he will find himself compelled to transpose its key, in order that he may employ the different voices without transgressing the limits of their compass. | ||
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+ | As the two last bars of the //cantus firmus// should always progress from the second of the key to the tonic -- for example, for the key of C, as **RE** to **DO**. The penultimate bar which forms the counterpoint must always be a //major sixth//, and the last bar an //octave//, provided the //cantus firmus// be in the Bass; and if it be in the upper part, the penultimate bar will be a //minor third//, and the last bar an //octave//. As thus:-- | ||
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+ | Before concluding the first order of counterpoint, | ||
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+ | Modulation should never be made, in any piece whatever, excepting into those keys, the tonics of which form part of the scale constituting the original key. | ||
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+ | Supposing the scale of C is the original key, we can only modulate into G major, into A (the relative minor), into F major, and into D minor. Moreover, we must only touch in passing, the key of F, because it weakens the principal key on account of the B-flat which destroys the leading-tone. The same mode of treatment must be pursued with the key of D minor, for the same reason as the key of F, more particularly as it destroys the tonic, by the C-sharp which is the leading-tone of this key. We may also modulate into E minor, but not remain in that key, still less than in the two keys above-mentioned, | ||
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+ | Supposing now, the scale to be A minor, the relative of C. We may first modulate into C major, and touch, in passing, the keys of F major, and of D minor; that of E minor may be sustained. They key of B is proscribed in this original key, for the same reason as in the original key of C. | ||
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+ | All these modulations are natural and analogous to the principal or original key. It is experience and study, which will enable the pupil to introduce these several keys, in a judicious and agreeable manner. |