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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.