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cherubini_counterpoint_and_fugue:two_part_counterpoint:third_order [2018/06/16 12:26]
brian created
cherubini_counterpoint_and_fugue:two_part_counterpoint:third_order [2018/06/17 09:47] (current)
brian
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 ==== Rule 19 ==== ==== Rule 19 ====
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 +Neither a single crotchet ((quarter note)), nor two, nor sometimes even three crotchets ((quarter notes)) in two-part counterpoint avail to save two parallel fifths or octaves; although in certain cases, contrary movement is employed, or a leap greater than a third.
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 +{{ :​cherubini_counterpoint_and_fugue:​ex056a-1.png?​500 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex056a.mp3 | :​cherubini_counterpoint_and_fugue:​ex056a.ogg |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex056b-1.png?​500 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex056b.mp3 | :​cherubini_counterpoint_and_fugue:​ex056b.ogg |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex056c-1.png?​500 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex056c.mp3 | :​cherubini_counterpoint_and_fugue:​ex056c.ogg |}}
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 +==== Rule 20 ====
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 +If in the preceding orders ((species)) of the two-part counterpoint,​ leaps of a major sixth, or minor sixth, and those of a tritone and of a false fifth have been prohibited, they are still more strictly forbidden in the present order ((species)),​ on account of the slight value of the notes, and of the short time which the voice has to prepare for assuring the intonation of harsh intervals.
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 +The interval of tritone must also be avoided as hard of intonation, and as disagreeable to the ear; even then it can be reached by filling in with conjunct sounds, ascending or descending.
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 +{{ :​cherubini_counterpoint_and_fugue:​ex057-1.png?​600 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex057.mp3 | :​cherubini_counterpoint_and_fugue:​ex057.ogg |}}
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 +The harshness of these passages arises from the circumstance,​ that the B and the F always occur at the extremes of pitch in the lower or upper points of the melody; and as the extreme sounds make more-immediate appeal to the ear than the intervening sounds, it follows that the ear, in the cases here shown, is sensible of the harshness of the tritone, while the other sounds can neither totally efface it, nor even effectually dissipate it.
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 +There are cases where the tritone, ascending or descending by gradual notes, may be introduced, without the objection denoted in the above example. It is when the two sounds which form the interval of tritone, do not occur at the two extremities of the melody, and are thus contained in a series of conjunct sounds.
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 +{{ :​cherubini_counterpoint_and_fugue:​ex058-1.png?​450 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex058.mp3 | :​cherubini_counterpoint_and_fugue:​ex058.ogg |}}
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 +It will be seen by these two examples, that the tritone is concealed between the two extreme sounds, with very softened effect; and that by this means the disagreeable impression it produces, is far less perceptible,​ if not altogether destroyed.
 +
 +==== Rule 21 ====
 +
 +In this order of counterpoint,​ in the same way as in the preceding order, a rest at the first bar of the part which forms the counterpoint,​ may be used; this rest will be of no longer duration than a crotchet ((quarter note)), and the note which follows it must be a concord ((consonance)).
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 +{{ :​cherubini_counterpoint_and_fugue:​ex059-1.png?​450 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex059.mp3 | :​cherubini_counterpoint_and_fugue:​ex059.ogg |}}
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 +==== Rule 22 ====
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 +In the bar before the last, the first crotchet of the counterpoint should be a third, if possible. If the counterpoint lie in the upper part, it will ascend by degrees to the octave or unison of the last bar; and if the counterpoint lie in the lower part, it will descend by an interval of a third, again to ascend by degrees to the octave or unison of the last bar.
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 +{{ :​cherubini_counterpoint_and_fugue:​ex060-1.png?​500 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex060.mp3 | :​cherubini_counterpoint_and_fugue:​ex060.ogg |}}
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 +This rule is not stringent; and another method may be pursued when the //cantus firmus// is so constructed as not of necessity to demand this procedure.
 +
 +In concluding this present order ((species)),​ a model of four crotchets ((quarter notes)) against a semibreve ((whole note)) is subjoined.
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 +{{ :​cherubini_counterpoint_and_fugue:​ex061a-1.png?​800 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex061a.mp3 | :​cherubini_counterpoint_and_fugue:​ex061a.ogg |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex061b-1.png?​800 |}}
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 +{{ :​cherubini_counterpoint_and_fugue:​ex061b.mp3 | :​cherubini_counterpoint_and_fugue:​ex061b.ogg |}}
  • cherubini_counterpoint_and_fugue/two_part_counterpoint/third_order.txt
  • Last modified: 2018/06/17 09:47
  • by brian