[Music Theory] chapter 09: connecting intervals in note-to-note counterpoint

to create a strong melodic line, avoid: -leaps preceded or followed by __________. -more than __________ skips or leaps in a row.

-leaps preceded or followed by a skip in the same direction. -more than two skips or leaps in a row.

whose counterpoint treatise was widely studied in the eighteenth century?

Johann Joseph Fux

leap

a melodic interval larger than a third (larger than a skip).

skip

a melodic interval of a third or fourth.

counterpoint

a musical texture that sets two or more lines of music so that the independent lines together create acceptable harmony; or harmonies set one after another so that the individual voices make good, independent melodic lines.

species

a particular type of counterpoint, used as a tool for teaching composition. the carious species (types) of counterpoint differ by the embellishments permitted and the rhythmic relationship between the voices.

overlapping voices

a voice-leading error in which one voice moves into the register of an adjacent voice on an adjacent beat.

parallel fifths

contrapuntal and voice-leading error that results from approaching a perfect fifth in parallel motion from another perfect fifth.

parallel octaves

contrapuntal and voice-leading error that results from approaching a perfect octave in parallel motion from another perfect octave.

parallel unison

contrapuntal and voice-leading error that results from approaching a perfect unison in parallel motion from another perfect unison.

parallel motion

contrapuntal motion in which both parts move in the same direction by the same interval.

similar motion

contrapuntal motion in which both parts move in the same direction, but not by the same generic interval.

oblique motion

contrapuntal motion in which one part repeats the same pitch while the other moves by leap, skip, or step.

contrary motion

contrapuntal motion in which two voices move in opposite directions.

invertible counterpoint

counterpoint that is structured intervallically so that the two lines can exchange register.

first species

counterpoint written so that each note in one voice is paired with a single note in the other voice, using only consonant intervals. also called note-to-note or 1:1 counterpoint.

why is first species counterpoint sometimes called "note-to-note"?

first species counterpoint is sometimes called "note-to-note" because both parts move at the same time to the next harmonic interval.

voice crossing

in four-part writing, one voice written higher than the part above it or lower than the part below it; considered poor voice-leading in common-practice SATB style.

how should you begin and end in strict counterpoint?

in strict counterpoint, both the cantus and the counterpoint should begin and end on the tonic, and both voices muse close with a stepwise approach to the tonic.

key concept how are melodic intervals conntected?

melodic intervals are connected by step, skip, or leap.

disjunct motion

melodic motion by skip or leap.

conjunct motion

melodic motion by step.

what is another name for first species counterpoint?

note-to-note or 1:1

cross relation

the chromatic alteration of a pitch in one voice part, immediately after the diatonic version has sounded in another voice.

voice-leading

the combination of melodic lines to create harmonies according to principles of common-practice harmony and counterpoint.

voice exchange

the expansion of a functional area in which two voices exchange chord members (e.g., 1 moves to 3 in the bass, and 3 moves to 1 in the soprano). this skip is often filled in with a passing tone or passing chord.

cantus firmus

the given melody against which a counterpoint is written.

step

the melodic interval of a half or whole step.

what types of intervals should you use for melodic skips or leaps?

the melodic skips or leaps should be consonant: m3, M3, P4, P5, m6, M6, and P8.

how can the study of counterpoint benefit your ability to analyse music?

to analyse music, you can use your knowledge of counterpoint to discover the underlying framework and see how it is embellished.

how can the study of counterpoint benefit your ability to compose music?

to compose music, you might begin with a simple framework and add elaboration.

what type of motion should you use most prominently in strict style?

to write a good contrapuntal line in strict style, use primarily conjunct motion, with a few skips or a leap for variety.

key concept how should you prepare and leave a melodic leap?

where possible, approach the leap by step in the opposite direction; after the leap, change direction again and fill in the space with smaller intervals.

is it required that first species counterpoint be notated with whole notes?

while in traditional first species exercises the cantus is notated in whole notes, any duration may be used as long as it is the same in both voices.

key concept what are the rules for large leaps in first species counterpoint?

you may include one leap larger than a fourth in a first species counterpoint melody.