Composing One-to-One Counterpoint

Introduction to One-to-One Counterpoint

Divided into three main parts:
1. Learn the rules of one-to-one counterpoint through an example by Schubert and Salieri.
2. Participate in a collective exercise with a thought process walkthrough.
3. Assign homework focusing on the composition of a counterpoint.

Definition: "Cantus firmus" means "given melody" in Latin.
Characteristics:
- Typically short, around 8 to 12 notes.
- Composed by a teacher for students to create a counterpoint.
Analogy: Similar to a haiku in poetry, it is concise and impactful.
- Avoids unnecessary notes, especially repetitions.
Melodic Fluency:
- Requires no directly repeated tones or small melodic motives.
- Allows listeners to easily split attention between melodies.
- Melodic fluency relates to the ease of mental tracking.

First observations:
- Melody is mostly stepwise, promoting predictability.
- Leaps occur, but only by consonant intervals:
- Examples include perfect fourths.
- Allowed consonant leaps: 3rd, 4th (exceptions: f to b), 5th (exceptions: b to f), 6th, and octave.
- Avoid dissonant intervals such as 7th, augmented/diminished intervals, and leaps larger than an octave.
Recovery from leaps:
- Typically achieved by stepwise motion in the opposite direction.
- Important for large leaps (> 3rd).
- Example: Similar to a basketball’s trajectory; upward movement followed by descent.

The Cantus firmus must begin and end on scale degree one (C for middle C).
Importance of the starting point:
- Defines its role as a baseline or inner voice.
- Gauge for establishing tonal center.
- Required for achieving a good sense of closure.
Melodic Motion:
- Needs a high point distinctly separate from the tonal endpoints (scale degree one).
- Example from Salieri: high point at A (6th above C).
- Tension and release demonstrated: ascend to high point, then descend fluidly to closure.

Schubert's counterpoint follows rules of melodic fluency akin to Salieri's melody:
- Starts on scale degree three because it is above the given melody.
- High point on the melody contrasts with Salieri's.
- Shape of counterpoint is descending, offering variety in interaction.
Melodic Interest:
- Derived from interactions of two melodies rather than individual melody strength.
- Counterpoint can include occasional repeated tones for emphasis (e.g., Cs repeated).
Caution: Over-repetition can shift listener focus away.

Rule 1: Exercise must include no dissonant harmonic intervals.
- Types of intervals:
- Perfect consonances: unisons, octaves, and fifths.
- Imperfect consonances: thirds, sixths, tenths (desirable for fluidity).
- Dissonant harmonic intervals include seconds, fourths, sevenths, augmented, and diminished intervals.
- Perfect consonances are stable but should not be overused to avoid dullness in composition.

Contrary Motion:
- One melody moves up while the other moves down, offering the best independence.
Direct Motion:
- Two types:
- Parallel Motion: Same direction by same interval; to be avoided (e.g., parallel thirds).
- Similar Motion: Same direction by different intervals; less preferred than contrary motion.
Oblique Motion:
- One melody stays while the other moves (e.g., repeated tones); creates independence.
Balance is essential: avoid excess contrary motion or repetition for vibrancy.

Rule 2: Must not approach a perfect consonance with direct motion.
- Results in a clunky, inelegant sound.
Schubert's counterpoint avoids consecutive parallels, using opposite or contrary motion before perfect consonances (notably the octave at the end).
Conclusion: Composing below given melodies mirrors creating above them, with specific constraints on starting pitches and melodic goals (typically descending).

Demonstrates analogous technique with a minor scale starting on D.
- Emphasizes raising leading tone (C to C#), customary in cadences.
Evaluation of Schubert’s exercise on dissonant intervals; balancing stable and unstable sounds is key to successful composition.