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    Leon Stein p.634-645

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    Leon Stein p.634-645

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    leon stein only pages 634 to 645

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    Leon Stein p.634-645

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    Structure & STYLE 222° THE STUDY AND ANALYSIS OF MUSICAL FORMS LEON STEIN De Paul University School of Music PRINCETON, NEW JERSEY AE POE WDE Se. An Introduction to Species Counterpoint ‘The art of counterpoint ivohes the combination of tadependent melodic lines While the stady of harmony focuses onthe vertical or cio aspects of mu, the sty of counterpoint does our attention to the interaction of afferent melodie lines. The contrapuntal dust between soprano and bass {in the vice leading reductions and melody harmonieasons ofthis tet are bout to instances of ts use, Although eontrapantel writing vas optional in the basically homopboni music of the Classal aad Romantic periods, ‘tas the prevadng texture during the fifteenth an extosnth entries (the Renaissance) and in the late seventeenth and easly eighteenth centuries (he mid to late Baroqu Examples of two-wice countepeint, expecially frstapecies or note- agnnstnote style, may appear very abstract, and you may wal ese “What does allthis Bevo to do with real muse?” Throughout this text we have temiphasized the importance of good melodie wetng in the soprano and bass voices and how their lines interac. The surface elaboration of these outar pats often tend to disguise their underlying voice leading, which we cn luncover through successive reduce analyses. As the layers of elaboration axe stripped away ffom these parts, the passege underlying contrapuntal foundation is revealed. We will soe that those foundetions flow many of the principles of species counterpoint In ths brief appendix, we vill commence with the acte-aginstnote framework ofthe Sopeano and bast and sucoessvely elaborate this fame- ‘work, ultimately producing a cextue that resembles the seal surface of # MeLoDre cHaRseTENeTics 635 piece of mu We wl achive this goal by mean ofthe s-aled seces, technique, a didactic method perfected by the composer and. teorit Johana Joseph Fu fs ueatse Gradua ad Perasm (1705) tempted to ‘ystematize the touching of counterpoint.” Although based on the mia practice of Palestrina, who ved neadly 180 your: eno, Fux treatise formed the foundation for contrapuntal instevetion during the Casa period and eontive tobe used today™ us began hs Grads by ang a melodie ine or counterpoint oa pre- exiting melody conistng of pitches of equal drat, ealed the cantar rmus abbrvated GF inthe following musa! expen) devise five specie, cach of which represent dfrest thn dl and handing < cnsonance and ssonnce fr the counterpanting wie or vices Sie uxt mothd sewlated the modal counterpoint of the late Renaissance, w= will ncorpone the flowing adjustments oder beng iin ine with ‘ur study tonal music inthe eomion-practie pero 1. to phe ofthe Church modes of the Renaissance, we will we only thestandard majo and minor odes. 2. All of the examples will begin and end inthe same Key (ether © ‘major or C minor) and conclade with an authentic cadence, Other ‘enlonces, such as tho half, deceptive, and Phrygian, though theoreti ‘ally posible are seldom encounteved in species writing 3. In place ofthe whole nto notation of the satus firmus typical of the Renaissance, we will uso the more familar meter signature of (and ‘ceasonslly nd notate the cantus firmus in quarter note, each of which receives one best. ‘4. We wil regard the harmonic intervals between the two voeesa§ rep esenting tid in rot pesition or Bist inversion. In many Instances the succession of itera will sgestfoncional chord progressions The handling of rhythm and consonance and dssonance wil adhere to Fut principles. Metoore Cuaracteristics Before beginning our study of two-part contrapuntal writing, wo wil rst ‘examine some characteristics of good melodie writing x exemplified in the ‘ounterpolnting wae 1 Aaa fhe eves porn Crd ity be oud in Fd Th Sido Co tepen, oied eon, tend by ed Maen Noe Yr W W. Norton 1557-67 1 Fer mse, se Kod Jepenan® Counterpoint (New Yor Pat Ha, BD pe New York Do 188 636 |arr. 5) AN uNTRooUCTION To sreciES CoUNTERFOIKT 1 the couterplt shuld eit df sn of ee retin, ‘oan of pig emer nates en sponge tng iad wth o ppent deci To age sand Lo prod ta te oan 2. Sepoise maten oud preva Melo Lp of Se Pre is too and eowting Gas commen bt Secon ‘hace Ki wl Suan nd Sahel ares ae ing th tds) ee nove asd Pega veh he cmeterpan Tfaigis an moaned 4 alos concur Wat, Copa 2A) e do idol Melo neuen on ‘ucatatstoew f Caf ot C wer davai a oer cal 2: Afar np of Ath or og the ely way change des tn Tvo necting Se une spor ad vacant aps ajor ‘triod may Finsr Species Example t First species employs aI: vhythmic roto botweon the cantusErmus aa ts sccompinying onunterpont. It also ceerred to as note-against-note sue In fact, the term counterpoint derives from the Latin axpressen puncts contra punctum, the "punctus” being a ype of note inthe redienal period. ‘The fllosing commacnts characterize the wo of harmone intervals in firs species 1. Only consonant tervals ae slowed: umisons, octave, perfect Sth, and ditonicSrds and 6th, plus their compound equivalents. Conse. ‘quently, ll dissonant intervals ae forbidden: 2nd, ths, perfect dhs, snd any augmented or diminished intervals (including the titon). 2, Bach phrase may begin witha unison, octave, perfect Sth or rarely a rd, any of which wl smply 2 “tonic triad” The final inter of the cadence mst be either an octave or unison on th tie note, These possible opening and closing intervals are shown in Example 1 Teging intra Talia eample2 vinsr seecies 687 2 Pec ere unos and oa) ae gear trl forthe open or loc ofthe phe. pert eee paver Ors te BO) we casera empl th tho ie 4. stance betes te tv oss hich ees he pa tin ey xed th, On oss th part may tmp tyerom enh ler “The let st of observations yertas tothe intervals motion between the woos 1, Agood misture of contrary mation (wb the voieas move in opposite fectons|, oblique maton (where obe part holds wile the other ‘moves, and sinlar mation (whore both move a the same drecton) ‘ensures melodic independence between the pasts. Similar stepwise ‘motion should motored tree stepwise laterals, 2, Parallel motion between perfct consonance: (the unison, octve, nd perfet 5th) is avoided a is similar (or direct) motion into a por feet consonance, sea Example 2. Direct motion from a Sth to an coatve tsallowed tthe cadence, however. 2 5-8 Mes 3, While all pes of motion becween Seds and ths are permisbl, both vices normally donot leap inthe same dzention to one of these interes. Al the cacences inthis appendix conclude onthe tonic not, with either ‘harmonic octave or mison. Ifthe cantus firmus is inthe upper voice (usu Aly proceeding 8 or 7-8, the bas will normaly leap from 5 to I imply- {nga perfect atheatc eadence(V-1, shown in Example a, Ifthe cantus firmus is inthe wer vee (8-1 or 7-8), the soprano must sill move sep- ‘wise to the toni, a shown in Example 9b. This stepetse bass motion Imples an inprfecr cadence ofethae vi or VL 688 {aer. 91 aN InTReDUCTION To BPEcIES coUNTERFOWT Example 3 Brample 4 ox oo ey ewe Gv ‘Three passages of fintspecies counterpoint appear in Example 4 ‘Examine the consonant harmonic nterals, the postionlng of periec and imperfect eoasonances inthe phrse, the individual melodio characteristics of cach par, and the itera motion between the voices. An intenal nals is provided below oach example, and abbreviations are used for contrary (Ci, oblique (0), and similar (S) motion. The interval ofthe o=- tave in the socond measure of Example do represents a passing moton in a vole exchange; is approached and let by contzary motion and oocars on a weak beat secono srectes 689 SECOND SpEciEs ‘The four remaining specs may be considered as melodie and rhythmic claborations (or “diinations") of the underlying not-eguinstnote style Second species employs a rhythmle mation of two equal eighth notes i the ‘counterpoint for each quarter note in the canta femus, resulting in & 2:1 ‘elation. Th rues for fist species remain in effect bot with the following ‘exception: dissonant passing tones on oflbeat eighth notes are now permis sible (Example 5a). It isnot aivays possible to incorporate continuo passing motion—vhether consoeant or disonsnt—in the counterpointiog voloe. In such cise, a 5-8 or 6-5 motion (sample 5) oc lesp 89 & cone sonant tone (Erample Se) may be used to waintsin the Sow of eighth notes; in these eases no disconant passing tones ace empleyed. The added eighth rotes in the counterpoint should not produce parallel perfect Sehs ‘or octaves with the cantus from (Evemple 5), 640. (ap. 3] aw wwrnoouerion To species couNTERPoINT ruuno srecits 641 Study the evo pasoges of second-speces wetting in Example 6, where Example? the passing tones ae etled In each phrase the soprano an bas notes on the Bist ofeach bec continue to provide an underyng fst epeies bas, Tuirp Species : In third species, the counterpoint either erapleys a 4:1 shythmie relation to the cantus, where four siteenth noes are sot agunst each quater note (a in {meter}, or 2 3:) rhythmic relaton, where thee eighth notes are set against each dotted quarer note of the cantar Srmus (a in f mote). Jn dition to unaccentod passing tones, dissonant neighboring tones may now ‘occur In settings these dssorances appear on the seoond and fourth s- teenth notes ofeach beat in Settings they opair om the second eighth ‘te. Thus, the stand third eights in both meters are ahrayscontonast. Leaps to consonant tones are found in thi species just 3s in second species. Examine the passages of thirdspeces writing in Example; these ‘ay be considered as frther elaborations of socond species. ther dissonant molode figures may occur in third species. These ‘om include the desoending accented passing tone (AP), which ean occur ‘only on tho third sitoonth note ofeach beat, and the changing tone (or dou: le incomplete neighbee), he later Rgure contains four notes Example 8) Se he ee ae 642 [4P6, 8] AN INTRODUCTION To sPEciEs COUNTERFOINT FourtH Species Example Example 10 1a fourth spc, sight stesso He oer rm the oft othe bat protadag{comious toca cf chic ywcnpatcs. Th feted A ‘sonanoes are suspensions, which are prepared by a consonant interval, occur nth bat, aad exe dowd by tp ob th flowing ofa. In Sings thy dy the espn 8 yo Te yb he counerpatiag wie cf Er Whe es ot pos to conte ise tess Spe throughout the ent phrase, oa uly es cord wee. "When th couterpnting vier aor the cris rus bath 7-6 and 4-8 snpeacons we poste saps Sad Gh). The 93 sop tir bec sant opin wang Erin nan wip ote {Erampln te) nthe 23 muponn te peer Ahi wily peed so agente 4h (ample). 1 the countorpsinting vice is below the cantusfimus, it cay viiize ‘only one posible suspension: the 2-3 or 9-10 (Example 104), Asx veal, Somme second:spectes writing i usualy neoesary to ink the suspensions ‘Ted figures with §-5.0r5-B are also posible (Example 0B) Example 11 Frm secics 648 om om ok gona Fieri Species Heample 12 ‘The rhythmic restrictions of the fist fvur species are camoved in fe pests, whens the coueterpointing wie may employ all the melodie and Thythmie Ggumtions of the previous species in various combinations. In Aion, ornamented suspensions using pairs of thiry-socond notes or come onant antspatons in srteenth nes) en ote, as shown in Brarple 12 = oo ==5 7 2 Pi ead sae ai oats Saat A phcasa fiom a hymn tone serves asthe cantusfrmos in the tm pas. sages in Example 13. At the end ofthe frst measuee of Frample 19, the in the bass produces «harmonic trtone with the Cin the soprano, This en ‘be rationalized asa VE 644 (Are. 3] AN INTRODUCTION TO SPECIES CoUNTERPOLAT eample 13 A “Bw ure Bono," ar nase oF B, ovis Bounceot “Oto Ove HuNoRED” LAST PHRASE Tey wee re Species technique may invelve more than two vices the

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