cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order

Differences

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

Link to this comparison view

Both sides previous revision Previous revision
Next revision		 Previous revision
cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2018/06/14 03:14] – briancherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2022/02/10 19:58] (current) – brian
Line 3: Line 3:
 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 ====
  
Line 20: Line 20:
 ==== 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 |}}
Line 128: Line 128:
 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 |}} 
Line 144: Line 144:
 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 |}}
Line 156: Line 156:
 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 |}}
Line 168: Line 168:
 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:--
Line 200: Line 200:
 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. 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 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 //given-subject//, or //plain-song//; the part composed by the pupil is termed //Counterpoint// ((abbreviated as //C.P.//)). 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.//)).
  • cherubini_counterpoint_and_fugue/two_part_counterpoint/first_order.1528946065.txt.gz
  • Last modified: 2018/06/14 03:14
  • by brian