music theory2-5

Introduction

• The lecture focuses on foundational concepts for upcoming lessons (next 3-4 weeks).

• Importance of taking notes emphasized.

• Topics include species counterpoint and rhythmic relationships.

Overview of Counterpoint

What is Counterpoint?

• The interdependent yet distinct melodic lines.

• Counterpoint types explored: first species and beyond.

First Species Counterpoint

Definition

• First species: one note against another.

• Emphasis on simultaneous notes rather than rhythmic meter.

Consonance in First Species

• Only consonant intervals allowed.

• Aimed at creating two melodies that sound good together and independently.

Metaphor for Writing Counterpoint: The Bridge

• Foundations: Stable beginning and ending notes (consonant).

• Span: The middle section that connects, representing motion and variety in melody.

Principles for Writing First Species Counterpoint

• Use complete and predictable foundational notes on either side of the melody.

• The inner span should have more mobility (variety).

Melodic Structure

Wave-like Shape

• Melody should follow a wave-like structure: rise and fall, starting and ending on stable notes.

• Both lines need to flow together naturally.

Independence of Voices

• Aim for independent sounding melodies to avoid masking one melody with another.

• Use of parallel and contrary motion to establish independence.

Avoiding Parallel Motion

• When creating independent lines:

  • Avoid: Parallel fifths, octaves, and unison, as they mask the distinctiveness of each melody.

  • Use: Contrary motion to contrast motion effectively.

Types of Motion in Counterpoint

Categories of Motion

• Parallel Motion: Both voices moving in the same direction by the same interval.

• Similar Motion: Both voices moving in the same direction by different intervals.

• Oblique Motion: One voice holds while the other moves.

• Contrary Motion: Voices move in opposite directions (ideal for independence).

Summary of Motion Dynamics

• Parallel/Both moving the same: Most dependent.

• Contrary/One moves, one holds: Most independent.

• Similar and oblique fall in between.

Consonant and Dissonant Intervals

Consonant Intervals Allowed in First Species

• Perfect unison, perfect fifth, perfect octave.

• Major and Minor thirds, Major and Minor sixths.

Dissonant Intervals to Avoid

• Any kind of seconds and sevenths, and all augmented and diminished intervals (including perfect fourth).

Theoretical Background

• Contrast between harmonic and geometric means as applied to melody writing.

Practical Guidelines for Writing Counterpoint

Matching Intervals with Motion

• When using perfect consonants (fifths, octaves), enforce contrary or oblique motion.

• Avoid parallel and similar motion with these intervals.

Writing Tips

• Only one voice can leap while the other steps to maintain balance.

• Employ contrary motion when dealing with perfect consonances to ensure distinct lines.

Example and Application

Analysis of Composer Fuchs' Example

• Box notation employed to visualize perfect consonant intervals.

• Use of contrary motion for highly consonant intervals (e.g., moving to thirds).

• Observation of how the motions correspond with leaps and steps in each voice.

Conclusion

• Overall objective: Create two independent yet harmonious melodies, balancing movement and consonance.

• Importance of practicing by playing or singing melodies to assess their quality.

• Upcoming lessons will focus on practical application and common mistakes with counterpoint writing.