cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order

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cherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2018/08/11 17:03] – briancherubini_counterpoint_and_fugue:two_part_counterpoint:first_order [2022/02/10 19:58] (current) – brian
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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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 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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 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.//)).
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  • Last modified: 2018/08/11 17:03
  • by brian