fux_gradus_ad_parnassum:of_counterpoint_in_the_composition_of_2_parts

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fux_gradus_ad_parnassum:of_counterpoint_in_the_composition_of_2_parts [2018/01/17 18:27] – brianfux_gradus_ad_parnassum:of_counterpoint_in_the_composition_of_2_parts [2018/01/17 19:59] – brian
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 6. Regularity, variety, and good melody must continually be kept in view. 6. Regularity, variety, and good melody must continually be kept in view.
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 +==== Simple Counterpoint ====
  
 Now we proceed to the composition of plain counterpoint in two parts only. The principal points to be observed in this kind of composition are as follow: Now we proceed to the composition of plain counterpoint in two parts only. The principal points to be observed in this kind of composition are as follow:
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 **Second Rule:** Skips of thirds in a similar motion following one another must be avoided, as it would occasion a forbidden progression of fifths and octaves. See Ex. 1 - Greater skips as those of a fourth, fifth, and sixth are allowed, as it would not offend the ear so much. See Ex. 2. **Second Rule:** Skips of thirds in a similar motion following one another must be avoided, as it would occasion a forbidden progression of fifths and octaves. See Ex. 1 - Greater skips as those of a fourth, fifth, and sixth are allowed, as it would not offend the ear so much. See Ex. 2.
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 +{{ :fux_gradus_ad_parnassum:ch01-ex05.png?300 |}}
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 +{{ :fux_gradus_ad_parnassum:ch01-ex05.mp3 | :fux_gradus_ad_parnassum:ch01-ex05.ogg |}}
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 +** Third Rule:** When the //cantus firmus// is in the upper part, a minim rest ((half-note rest)) is to be placed at the beginning of the counterpoint instead of the first note.
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 +** Fourth Rule:** If the parts should meet so close together as not to leave sufficient room for the notes to move in the contrary way, then in such case a skip of a sixth or octave is allowed to be used.
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 +{{ :fux_gradus_ad_parnassum:ch01-ex06a.png?300 |}}
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 +{{ :fux_gradus_ad_parnassum:ch01-ex06a.mp3 | :fux_gradus_ad_parnassum:ch01-ex06a.ogg |}}
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 +{{ :fux_gradus_ad_parnassum:ch01-ex06b.png?300 |}}
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 +{{ :fux_gradus_ad_parnassum:ch01-ex06b.mp3 | :fux_gradus_ad_parnassum:ch01-ex06b.ogg |}}
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 +In triple time ((triple meter)), when one note is set against three, the middle-most note bay be a discord ((dissonance)), provided it be in a gradual progression.
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 +{{ :fux_gradus_ad_parnassum:ch01-ex07.png?300 |}}
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 +{{ :fux_gradus_ad_parnassum:ch01-ex07.mp3 | :fux_gradus_ad_parnassum:ch01-ex07.ogg |}}
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 +==== Third Counterpoint ====
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 +Third-species counterpoint is a kind of composition where four crotchets ((quarter notes)) are set against one semibreve ((whole note)). Here it must be observed, that when five crotchets ((quarter notes)) follow one another gradually either rising or falling, the first, third, and fifth note are to be concords ((consonances)), and the second and fourth discords ((dissonances)). See Ex. 1. But this is not always the case, as sometimes the second and fourth note may be concords ((consonances)), and the third a discord (dissonance)) by way of filling up the space of a third. See Ex. 2. To explain which more fully we will reduce those examples to their original form (Ex. 3) which will show them to be regular transitions.
  • fux_gradus_ad_parnassum/of_counterpoint_in_the_composition_of_2_parts.txt
  • Last modified: 2019/01/14 20:53
  • by brian