cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order

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cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2018/06/14 02:47] – briancherubini_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)), and now allowing this method to continue too long, as it is only admissible in case of extremity, or in order to make the parts flow well, since the pupil should, as we have just said, write for voices:--+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)), and not allowing this method to continue too long, as it is only admissible in case of extremity, or in order to make the parts flow well, since the pupil should, as we have just said, write for voices:--
  
 {{ :cherubini_counterpoint_and_fugue:ex010-1.png?800 |}} {{ :cherubini_counterpoint_and_fugue:ex010-1.png?800 |}}
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 Nevertheless, there are modern composers who have thought fit to employ it, thus:-- Nevertheless, there are modern composers who have thought fit to employ it, thus:--
  
-{{ :cherubini_counterpoint_and_fugue:ex021-1.png?800 |}}+{{ :cherubini_counterpoint_and_fugue:ex021-1.png?650 |}}
  
 {{ :cherubini_counterpoint_and_fugue:ex021.mp3 | :cherubini_counterpoint_and_fugue:ex021.ogg |}}  {{ :cherubini_counterpoint_and_fugue:ex021.mp3 | :cherubini_counterpoint_and_fugue:ex021.ogg |}} 
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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.
  
-{{ :cherubini_counterpoint_and_fugue:ex024-1.png?800 |}}+{{ :cherubini_counterpoint_and_fugue:ex024-1.png?500 |}}
  
 {{ :cherubini_counterpoint_and_fugue:ex024.mp3 | :cherubini_counterpoint_and_fugue:ex024.ogg |}} {{ :cherubini_counterpoint_and_fugue:ex024.mp3 | :cherubini_counterpoint_and_fugue:ex024.ogg |}}
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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:-- 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:--
  
-{{ :cherubini_counterpoint_and_fugue:ex025-1.png?800 |}}+{{ :cherubini_counterpoint_and_fugue:ex025-1.png?700 |}}
  
 {{ :cherubini_counterpoint_and_fugue:ex025.mp3 | :cherubini_counterpoint_and_fugue:ex025.ogg |}} {{ :cherubini_counterpoint_and_fugue:ex025.mp3 | :cherubini_counterpoint_and_fugue:ex025.ogg |}}
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 By the aid of these corrections, the relation is partly, or entirely veiled. In the other orders of counterpoint, as will be seen, it is easier, than in this one, to avoid the false relations of tritone. By the aid of these corrections, the relation is partly, or entirely veiled. In the other orders of counterpoint, as will be seen, it is easier, than in this one, to avoid the false relations of tritone.
  
-It notw remains to be demonstrated, how and why the tritone is a false relation in harmony. What I am about to state, applies equally to two-part counterpoint, as to that in several parts, and I here subjoin this demonstration in order not to have occasion hereafter for mentioning it with so much detail.+It now remains to be demonstrated, how and why the tritone is a false relation in harmony. What I am about to state, applies equally to two-part counterpoint, as to that in several parts, and I here subjoin this demonstration in order not to have occasion hereafter for mentioning it with so much detail.
  
 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:-- 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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 ==== Rule 8 ==== ==== Rule 8 ====
 +
 +Except at the first bar, and the last, imperfect concords ((consonances)) should always be introduced, in the course of composition, in preference to perfect ones. The object of this rule is to produce harmony by means of imperfect concords ((consonances)), which are more harmonious than the others. Nevertheless, the employment of may imperfect concords ((consonances)) of the same denomination would lead to the abuse pointed out in Rule 6, which should be carefully avoided. The composer should know how to intermingle with taste and discernment perfect and imperfect concords ((consonances)), in order to give harmony to the counterpoint.
 +
 +> Two completed examples of first-species counterpoint
 +
 +{{ :cherubini_counterpoint_and_fugue:ex029a-1.png?800 |}}
 +
 +{{ :cherubini_counterpoint_and_fugue:ex029a.mp3 | :cherubini_counterpoint_and_fugue:ex029a.ogg |}}
 +
 +{{ :cherubini_counterpoint_and_fugue:ex029b-1.png?800 |}}
 +
 +{{ :cherubini_counterpoint_and_fugue:ex029b.mp3 | :cherubini_counterpoint_and_fugue:ex029b.ogg |}}
 +
 +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, with ease and elegance.
 +
 +> **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 //given-subject//, or //plain-song//; the part composed by the pupil is termed //Counterpoint// ((abbreviated as //C.P.//)).
 +
 +There will be found at the end of this treatise, several different //canti firmi//, for each of the orders of counterpoint, which will give the pupil an opportunity of employing all the resources of counterpoint.
 +
 +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.
 +
 +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:--
 +
 +{{ :cherubini_counterpoint_and_fugue:ex030-1.png?800 |}}
 +
 +{{ :cherubini_counterpoint_and_fugue:ex030.mp3 | :cherubini_counterpoint_and_fugue:ex030.ogg |}}
 +
 +Before concluding the first order of counterpoint, a word must be said respecting modulations; and the observations upon this head will be applicable to all kinds of strict counterpoint.
 +
 +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.
 +
 +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, on account of the F-sharp and the D-sharp which are introduced by it. The key of B is proscribed, because it has no perfect fifth.
 +
 +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.
 +
 +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.
  • cherubini_counterpoint_and_fugue/two_part_counterpoint/first_order.1528944422.txt.gz
  • Last modified: 2018/06/14 02:47
  • by brian