Alio by Robett Gould... A Practical Approach to Aubert Gould ompasier devoig apts) srd wring skits ithe tentaponsltecvqu ofthe sight atry hisvlne. Th eentton f the be strani, desing manly wth the poyphany of the ate Baroque pari Toe aspects ae sessed touphort prota wth ewig carport, wn ou oes, device, ne fer a he pe 1 Hise Because he eges te th append aoe fee (Oana of acer om ae tee, oe i ley tins Ate an onaig chapter tht evens sa amr ets of th at Baru pei thre ea bel survey of ead carats, ad study of pt ets asected with tw, ths, and our was, (SB 0.88/980592 Other key features inl 1 a etait stings roe ccm, wih we ore ae! Ginusin tats ad on To endear of he carale pres 1 fle inten cuni spt hope en ernst casei ig hat a tapi es Wave vita we hr nd Press, Inc. ISBN 0-88133-852-\A Pratl Approcch te SIXTEENTH- CENTURY COUNTERPOINT Robert Gauldin Fat Glo Mase WAVELAND| [PRESS INC.For information about this book, ite or call: Waveland Pres, Ine P.O. Box 400 Prospect Heights, lineis 60070, 847/634-0081, Copyright © 1985 by Robert Gauldin 1995 reissued by Waveland Press, Ine ISBN 0-88133-852-4 All rights reserced. No part of this book may be repraduced, stored in a retriecal system, of transmitted in any form or by any means without permission in writing from the publisher Printed in the United States of America 7654 Contents PREFACE PRELIMINARY REMARKS. Bi 2 (MELODIC WRITING WITH WHITE NOTES iyi Characters of Mio Lis 21 3 ‘TWO-VOICE TEXTURE WITH WHITE NOTES Consnen Harmon interae 27 Cine 2 Toe Tue VokeTetare 33 5 2%MELODIC WRITING WITH BLACK NOTES Tee Seng th Black Nees 9 5 ‘TWO-VOICE TEXTURE WITH BLACK NOTES (OTHER ASPECTS OF WWO-VOICE TEXTURE Date Cpa 48 anon Wg Te oie 83 ‘Aap Sinahce nV TV Compotons $5 ‘sre Wing a Tao Ve Fee oO 7 EXAMPLES OF TWO-VOICE COMPOSITIONS FOR ANALYSIS ‘THREE-VOICE TEXTURE WITH WHITE NOTES Homey Recures_ 76 Veen Ben Const Sooits 73 Dissonance ett We Net 2 9 ‘CADENCES IN THREE.VOICE TEXTURE, ‘OTHER WHITE-NOTE DISSONANCE dees in The Ve 87 (ther Wee Desnace 92 10 [BLACK NOTES IN THREE.VOICE TEXTURE; IMITATION AND REENTRIES 36 2 % o " URTHER STUDIES IN CANON PARAPHRASE TECHNIQUE; ean ee 1 n EXAMPLES OF THREE-VOICE COMPOSITIONS FOR ANALYSIS B CGENFRAL CONSIDERATIONS OF FOUROICE TEXTURE, FAMILIAR STYLE ie Chencetis f eure Tete 3S Frit Sige 180 4 IMITATION AND REENTRY IN FOUR-VOICE TEXTUR ‘CANTUS FIRMUS TECHNIQUE Intaton and Raotryn Fo Vie Tene 6 6 EXAMPLES OF FOUR-VOICE COMPOSITIONS FOR ANALYSIS 16 ASPECTS OF FIVE: AND SUX-VOICE TEXTURE; TRIPLE METER aac Fnture of ice ant Sie Vie Weng 78 Tepe Meer a v ‘THE MOTET; PARODY TECHNIQUE The Mote 194 Party fcke 195 105 135 M6 150 17818 EXAMPLES OF FIVE. AND SIX-VOICE ‘COMPOSITIONS FOR ANALYSIS 9 EIGHT.VOICE TEXTURE; POLYCHORAL STYLE 20 EXAMPLES OF EIGHT-VOICE COMPOSITIONS FOR ANALYSIS a ADDITIONAL HARMONIC DEVICES IN THE LATE SIXTEENTH CENTURY 2 [EXTENDED MUSICA FICTA AND CHROMATICISM Append 1 SPECIES COUNTERPOINT Appendix 2 THE MASS Appendin 3 [MAJOR COMPOSERS AND THEORISTS BiBLIOGRAPHY 4. Hara! Ties Ave Eng) 297 I topes 98 1, Rett Bots, Aes, and Anais 30 INDEX OF NAMES AND WORKS INDEX OF TERMS 205 as 256 263 290 2 304 07 Preface “The purpose of hist twofold: the acquisition of wets inthe Conitapunial discipline, andthe simulation of sistentvcetary steed pyphoni idioms: As suc, ifs nar of presentation i basicaly prac Elin mature. Ides nt propos any sgl comprehensive analy 57> tem other than a considera of those compostonal techniques ito re consectivevowls, ech porouned soul (De ten decor Arica ee) {feck cts oe PAE Oompa wih eg a {bona cum ham * 1 QU flowed by amber vowel, ingot Gwe not gu =) an 8 fs In bone(C= ard as scold (cdo hue - do but before ELY,AE, and OB i ‘ands CHa in so (pce = pe =che G = hard g a in oga (goa = gh 4 bt beer BLY,AE, and OF Sounds an gem igen = Jem fo = Seater except in mh and ni where sounds 2 hard & = mk aan J Yasin year aes = ate tay) 3 S4s inn on ~ 0 hs), All oters pronounced a a Bagh 4. Mattple Consonants (CC = asin ccd (exten = €- les: but flowed by EY AE, ‘nd OF i sounds chin Boe (cpa = 3" che anh ct = Ks in chaos (Chite = Kt) GN = nyasin canyon fags = anys) SC followed fy E1.AE and OE ~ shan sheperd (decent = desherald TH = hard tain Thomas (thorn ea to- eam Tr fellowes by a vowel ang preceded ty any keer excep ST oe X = tse guts = greater Pam teria = eee XC before F or 1 =KSH (nse = ek selva) Double consonants are usally pronounced separately (obs, Hears) The stresed sylable ofa word is generally the fs or second syllable Since acentuation is so crucial the hythait setting of words te mass the Latin texts of musical selections inclided in this work wil be acne forstrong and weak sylables. All ransations furnished wil sive to boos |neral as posable, evento the ocasional detriment of Ie meaning of the sentence Peni sunt cle Met tem gle kote Full ae heaven and eath poy of your (@eaven and earth ae lof your gh) Jn many instances in polyphonic movements, cents of thematic material ae not undeviaid with appropiate text nthe oigial pt bocks ‘These texts usually have been supplied by efor of madlem Editons. so will be the case in this work wth examples of this nature taken fron the erature, 2 Melodic Writing with White Notes retaking up the problem of two-oie polyphony tis exten that ths chart of edi eke nate Res music be eublshe In order fo keep the value shyt re Sour tp minimum for he preset ony white-ste dan wl be employed in his chapter, The gueston of tackenate melodic ms Wil ie discussed in chapter 4 Verbal dexcptons of partclar melodic spe are ten problem se Mee uh nto eid nap wench testis ofa vary of Minto periods, Neverthe, some generar tmuts are in oder” An aesthetic poncple of the Counter Reformation Sacred spies that the usc sould be serene, objective and bentfly Broportoned: Jeppesen’ emis ae propriate thi ear ‘hein testment ofthe Flestina music eeu mated iner coherence Rad ouph ar ey Spl Specs, soho ie Sagh in inet ‘eae contac cre kinda express ocabeyhina ance ‘SegUGFtninpelng ttt com sevens cy shaded epreon ‘mer ogre noon amen could beanie ait expena ‘ther everthing mut wore together sooty an harmony Serpe, Connep 1.16 nb Wig nth Whee es In compoting melodic lines inthis style the student mast remember stove all that thsi essentially sal music. Probably the best test for an ‘rigid melody is for one to sing If ificales or problems arse dung performance, there is usually something technically wrong, The opening Thematic statements from 2 munberof sections in Palestria’s Miss bess tare quoted in Ex. 2-4, Although they contain back notes, which willbe dis- ‘cussed in detail in chapter 4, the student is urged to sng and study them “anefll in regard to the following sections dealing with pitch succession, ‘verall melodie contour, shythaue handling, and text ting, fe sac Wogan Wha oe PITCH SUCCESSION IN THE MELODIC LINE Some generalities regarding the pltch elements in melodic lines (mel) ray be observed. As concers consecutive melodic interval, diatonic se- fonds, thirds, perfect fourths, perfect Hlth, and ocaves are common. Shths are found in totion ony, and here the minor sixth is refered.” All sevenths, a8 well as any diminished or augmented inter- "als, are to be avoided. This rule automatically outlaws the tone (aug- ‘mented fourth or diminished 6A) or any chromatic line that employs an ‘tugmented prime euch as CCH), One may occasionally observe a rest i terrupting leap ofa sixth ora seventh producing a so-called "dead inter~ ‘val this 5 usually encountered aftr an interior cadence. Although lps Imay occur to any pitch cass, the note Bs handled with care. Ascending Teaps to ths tone ae rave As regarde melodie motion and contour, this style features basicaly stepwise movement. In general the larger the melodic interval, the less it fends to occur. Some obmervations regarding melodic leaps follow. 2p om hat hat tral a a omen a wy, ringside id Flaca ui cana moa ngs heter ascending or descending stepwise motion ts unusual to ind leaps langer than third that continue nthe ame dracon. Leaps genet ally acura the topo bottom of ine when mavingn the same direction, fot in the middle (Fx. 224) After a leap, the melodic motion usually ‘hangs by step oF leap in the opposite direction. The larger the leap, the treater the ned fr this restoring movement. This continual balancing of fhe line in some ways adheres #9 « hypothesis af Leonard Meyer which "suggest thatthe spacial gap created bya melodic leap tends tbe ile in tventualy ith stepwise motion. In ths regard consult Ex. 2-2. the outining of major or minor triads, ustally in reet positon cr second Inversion (Bx. 23), the partitioning ofthe octave with Successive leaps of fourths and fifths (Ex. 2-38), aswell as the occasional double leap D-AC in ‘ascending motion, sometimes nated inthe Doran mode (Ex. 230), Fol lowing any double lap, the ine will almost always change direction ‘More than two repeated notes are to be avoided for the present as ‘hey are not particultly characteristic of polyphonic texture (Ex. 244)" (Care will be execeed in melodie sequences of more than one reiteration (bx. 248), although a single sequence of fourths may be found (Ex. 240), ors don hsp ene Mes, np Mak Ey vont coma be Lu, "An eng a Ral Specs Conerpa” 28 er ot pe a "Tepe ses wi be cond nde se heating Far Sin chap 13. ‘el orn at a [Bh may be found aan acidental in all modes; however, ts use is ‘more common in Doran of Lydian, where the Fis an important structural pote. The interval ofa titone must always be corrected witha Bb (oran Eb Inthe transposed modes), ewer with an Fl In addition, shor melodic ‘witowe upper ana lower limits ouine an augmented fourth are to be avoided. Instances involving the diminished fifth are not a eral in this respect, As mentioned esl, pertaining to hexchordal theory, the Bb ie often found as an upper neighbor of A (A Bb - A) or MPa For the use of Bb in melodic Hines consult the Mustrations in Ex. 25, ow For the time being, the use of all raising acientals willbe restricted to cadences. The final cadence tone is always approached from above ‘below by stepwise mation. Far those cadences on D, Gy and A the penul= mate lower tone is raised by a Cf, F, or Gk respectively.* Cadences on E, For C do not require music ta. In te transposed modes these wil ap- peara perfect fourth higher, of course, Study the various melodicadences In Fx. 26, For appropriate beginning and interior cadence tone, consult Fig. 17 as regards the various modal preferences. ‘Some general guidelines for overall melodic contour may be noted “The highest (peak) an lowes (valley) notes of x melody are cuca tonal events, and itis este that thei role not be diminished by undue repel ‘on (Ex. 27A), Continual reiteration or periodic return toa single pitch in the melodic Une, thereby creating @ peevaling static motion with bile sense of directed motion (Ex. 2-78), is likewise o be avoided. This per x rappin apprech A vi and a poste= Se tains, as well, toa melody in which the pitches ofa particular trad are con- Stanly stressed; one must strive to distbute the tonal interest in such @ ‘way that most ofthe avalable diatonic notes receive some attention (Ex 270, ‘Aiough simple ale often even encompassing the ‘ange of an octave, may be found this base stepsese motion commonly ‘disguised through momentary “diversions” inthe ine. Thus an overall step emerges, securing 2 sense of strong directional force, feven’ though the direct scalar motion is somewhat hidden within the ‘undulations of the melody In this regard study Ex. 2-7D and E, Several Such occurrences are abo bracketed In Ex. 214, C, and D. SS ASSIGNMENT Using the succession of pltches (without thythm) in Ex. 28, point out any Sylisic errors in terms Of the previous discussion annie 28 ae SS = SS SS [RHYTHMIC CHARACTERISTICS "OF MELODIC LINES A few generl considerations of whitesote rhythmic durations may be foted. The lager note valves (breves, doted breve, and dotted semi reves) cur exelusivey on song beats (3) ister only be to te a semibreve to a minim, not the reverse: a= 9 mot a However, it semibreve toa breve is. permitted: f= lev or Ja (eee Ex. 298). Compositions must begin with values of av Tense a seribreve or longer (Ex. 298). In the same way, the final rote of a piece is always reve, even if t occurs on the third beat (Ex. 290)" is rae to find a breve followed by 2 minim (Ex. 29D). Final, rests must occur on stong beats ony (13, but never2 or 4 consult Ex 236, panne 29 A (conus on flowing #8)Considering the vocal nature ofthis musi i somewhat surprising to find that many authors of contrapuntal texts have falled to comment ex tensive on the question of teat seting. The sacred Latin text with it terplay of accented and unaccented syllables i perhaps the primary inf fence on the shyt of the individual melodic lines, ‘The following ‘generalities may serve as guidelines in this area" Any white note may ‘ary a syllable of text. The fal breve of «composition must be set with + syflableof ext as we shall se ltr, this alo applies n principe to the last note of interior cadences. Accented syllables re usually set with longer rote values, regardless of which beat they may fll on. This recall the Basic ‘concept ofegogi (or quantitative) actnt Consult Ex. 210. ete nt Wee nae om Melismatic passages are normaly inated with an accented sylable anda relatively ong duration (Bx 211). Theresa strong tendency toward ‘8 minture of sylabic and melsmatic sting in this syle (eee both Be 2.11 and 213). Extensive neumtic text setting (that I, fo or thee notes pet syllable) is somewhat rare. ein ie Secon mri aS Ss ‘tah omit and Zi ld down itn ues eat of ts A ‘REEEHTY of Zao ten us che Ve isa ram is ye a ‘Sarl? Rub, Chet aiptan wy Thoma te Ovo Bal Bacco et Wg ih We es ‘The appcaton of the pindpls noted above resus in what satedund ts the marry tends melons In many {oes the lepularecrrence of aogi accent creates a indo “hanging tmcter flee which may be demented by baring the mui according torent accents an longer durations. Repetition of mythic figures which suggests song metricor“dancedie”focingare normal avoided. Com pare the two vemos in Bx 212 cxanrie 232 eee een eee waa et te pant a ee ee a cera ete tenet OSCR Sha eee toe ae yp eke Soe Se ae eae tar Pon ator panne 217 rigs Min Cori rane a odend, Dt Apa 7In dividing a given text into separate phrases for musi setting, ‘most composer af ths pened tended to choose phrases that Yared it Jength from five to fourteen sylable. In some instances the longer phrases are, in tun, subdivided into two shorter thematic dea of for eight sy. ibe, har ly sper re neues the and unit that Is usually developed more extensively though subsequent feencies. Each recurrence ofthe infil thematic subject is aceompnied by ‘its orginal text setting, In this regard examine Ee. 214 tional procedures, including the use of Mensurstrch, Then, rebar one of your passages sing changing meter signatures, as shown in Ex. 212, 9 Itustete the siting metic puters. panne 236 eas) foam oo € = = eS o teas ‘As noted previously, the approach fo either a final or interior cadence Is always by stepwise motion. n the simple (empl cadence the pene ‘mate note is set witha semibyeve (Ex. 2-15). Inthe elaborated (ina) ‘cadence the lower approach consists of the cadence tone (et toa smi breve), followed by the leading tone (witha minim) Several istratons are given in Ex 2158, exanne 25 ‘Study the two passages in Ex. 2.16 and 17, taking into consideration the shove discussion. Then, compose two comparable pieces onthe sume txts in the Miolydian and Phrygian modes respectively. Observe corect ta: th zon for thn ing wl come det when oe eens nd “ic ate suspen om re dae apaTro-Mice Texture with White Notes Twovoice compositions (often called bis) are comparatively rare in this period. They tend to appear in separate collections by compouers and are ‘often secular or instrumental in nature" Although one may encounter sab. divisions of the larger mass movements set in twa voices during the late fltenth century (such as the Crucis ofthe Cred), by the mil of the following century thse had given way to three voice stings. For the ime ‘being this chapter wil limit the avadable shythmle resources to the ute of ‘white notes only The term purctum cota punctes, from which we devive the word counterpoint, crginlly referred tothe oral practice of seting a given soa ah ae a oe See enema aoe Seale enw gts ee armenia tore ‘Maye Brown (Chicago Univer Chicago Fes, 1978 Vinee Galle, Conan dae Sip tioata Sonate epee magne Sos beet ae betes nen Praratiatnect rae ck memo moe SRSA STIS Sloman Sidon sles chant melody with another line elther above of below it in similar dure done, resting ina note-agnnstnote (or so-called fat pei) style. The rtf polyphony synonymous with counterpoint (rat grat, sit was Called inthe Late Renaissance), i usualy defined the cat of combining {pro or more melodie strands, ach with is own characteristic contour and fhythmic hfe. AS opposed to homephonic texture in which one melodie line emerges a5 the foreground clement, in counterpoint the separate toicescoewst on somewhat equal term. As the ear as dificly in folow ing two (or more) parts simultaneously, i therefore tends to switch its a tention back and forth between the various melodic ines. In order, there fore, to maximize the distinct properties ofeach voice, i s necessary to shore to several basi princes, 1 The pars shoul be separated spatially, wih each aged to a parle ct range, Alhouph Sraonal woe roskng may be aeated excessive ‘corn dee wil etn a conto ote dierent melodic sand 2. Each pan should ehibt a dsinctve melodic pitch mation and conto ‘ven the coe of iui, where ater ve Gr ren) suy eter wih [Sdcaly independent. Tas shoul ein a mare a varous ype ‘motion nthe wo woes (I sie, where the parts move the sane dic ‘her oe prone vhthe Rrnove pet a eo ‘Zn or pal motion wil neat the conuapartal roe, ce the eat ‘wilted elevate oe ve os peti prominence, wit an scone nrc to ely exusively on conary motion, 2 The vert reel of th separate ine shoul produce hone neva of ‘enor hat ore sot with he sent hom unr consierton, ‘RE enn corsonac, wha Nighy oad Handing oa 44 ally, the yt characters of ech pat shoud be tnt and in ‘ial em the ther. ns penoe ts eal the tho of py ony, {erie moto tough tine tat seats the pic sucsenon ofthe ve, ‘The combnation ofthe Hines producer kindof shyehmic complemertton ‘Ributwlsone susan ober a noving Thaw s oa {nterpay of movement that preserves te Independence ofthe vies. ‘CONSONANT HARMONIC INTERVALS ‘iarmonie intervals are always calculated from the lowest sounding voice [art (called the fs sequent). The consonant intervals in this penod are the unison, octave, pecec ith, and all diatonic thirds and sixth. Datoric tenths and the perfect wellth are permitted, although they are somewhat legs frequent. Dissonant interval, which include seconds, sevenths, and all diminished and augmented intervals, must be tweated and explained interns of nonharmoni city, ns sch wil be trated later in his apie “Those pices in which both pat sat simultaneously begin with e- thers unison, eta, or perfec ith, Se neath mode cela ial ith dase are prefered. best fo conou ig 17 before beginning Eemposton. The fn ote ale mm besten a seme engi Tor either final or interior cadences, only the unison or cca permitted on the latte. Assad previo, must be approached Slepwise in tt vies (he scaled Stee o deca pt, re sulting there movement fs minor tard oa ison rea ooch toan aca, Musee anomaly anumed witcaenta nates nD, na wherein tone necessary. Sag he tation Be 90 2S Se Se Perfect consonances within the phrase must be handled wit care as regards ther approach and departure. Unions are found only on weak beats @ or 4), and must be approached and let by contrary or oblique ‘mation (se Bx. 3:24). Ocaves may ocasionaly be found on strong beat, although ther cessive use a the case fhe unison, edcoraged Their use on weak beats is permitted, and they ae also approached and left in the same manner as the unison (ose Ex 3-28). ie mabe to 8, Perfect fifths are usually approached by contrary or abligue motion. 1m those infrequent cases in which skmlar motion is employed, one voice ‘mst move stepwise while the other voice maves by lap. Periect ths on consecutive strong beats are possible, provided an imperfect consonance {Rtervenes. Patterns of successive descending 65 are equently found, Freducing the fiths on consecutive weak beats, Consult the lustraion in Be 32¢. 'As is apparent from the above discussion, parallel perfect intervals ae obviously forbidden in this style. Examine those instances shown in Es ‘The impesiect consonances (thirds, siths, and tenths) may be ap proached and lft ely (se Ex 3-44). However, more than three consecu- Eve thirds or ithe in similar motion are tobe avoided, as the indepen- dence ofthe individual lines will sutfer (see Ex. 3-48) mune qemt at ‘ wee ee cots seth 8 358 ASSIGNMENTS ‘Write two-part pices for either the same or adjacent voices (cantuscants, crnusaltg enor seu, ct) Strive to keep the voices within the range of fn ocave harmonically, using compound intervals sparingly (never more than a twelfth), Short stretches of voicecrossing ae permitted. Study the shor piece in Ex. 35, which makes exusive use of consonant intervals Waite in the resting harmonic interval, noting the manner in which the Perfect intervals are approached and let. means 25AMPLE SS ont oun 22 . sib ES Z + by Se] = 5 iy ne ty en arma ae sonata ns obi hcermeneeee “spite the severe limitations, steve fora good melodic line Sunllae motion to fit i not allowed In fest species syle. SSS SS SSS Wea piece silat Ex 35 ito eight measures) only consonant nervl Choose yosr own me and use the ooing RE que em ae rma doom & Di mi ne, est tema pee toad) DISSONANT WHITE NOTES, ‘niyo typeof dsonance may be ued with minis in wo vices fevare~passing tones and sspenions? Alloters vate bck notation ann Be dn cat sng tone mii eer ony on weak best (2a) They may s- cxnd or dsend at he nan re mat pas” aa eet Semubreve vate (x 374 and 8). The ote oppatethe prsing das anc must not be rere (x. 370), but itm ea, one the sing {one hasbeen resolved (Bx 70), Whats the problem in Ex 37E? The tworvoe suspension na prt expesie sone at always fab on a song beat (1 or 3) mene ponton moral reseed for consonance: Suspensions re always prepare y the fame petoas {extn of ot ee rr “Seon pecs 1) empl ny cnr and ping oe, whe fou is make ae St epem oppenae nt = po bea ees Ch se Suri aot f : ee and are resolved downward, stepwise in this syle. The sabpended Sacer S normaly "Sod n fo preparation pede s w ote sycpe (or snc) equaling 8 semibreve in duration (as # ~ 0 Hower, in certain instances of tex Stig one may fed the suspended trinimrelteratedwithanew ylable GUE 34 Tee nin te Supe Fie dos i eee “The most common suspensions in two-voie texture are the 7-6(i the “upper voice) and its inversion the 2 in he lower voice); examine Bx. 284 and B Although it dees the intervals 2-3 Ex. 38C shows a typical error ‘why sit incorrect? The 43 (in the upper voice is possible although some- ‘what lees common; instances of augmented fourths ae extremely rare (Ex. [38D and E). The 98 should be avoided, as its resolution into the empty ‘octave isles than desirable (Ex. 3) Ina 7-8 or a2 progression, the ‘voice nat involved with the suspension may leap tow consonance (usally 2 thied or sith iy) when thes resolves, creating a 50- Called huge of part (Ex. 38G and H). Why is Ex 38! an incorrect ‘Suspension? soamne 4 omic lowing 8)exauun 30 a we ZFS oie Teme weh White News te tek te 8 tapes & ‘CADENCES ‘As noted previously, cadences in two voices feature stepwise motion in both pats, either fo a unison or octave. Cadences in this period ae almost always preceded immediatly by either 7-6 suspension, which revolves 2 the octave, or 423 suspension, which resolves tothe unison. Appropriate music ta will normally be supplied above the resolution ofthe suspen: sion in those cadences where necessary (C}-D, F-G, or GA inthe Lntansposed modes). The customary Phrygian cadence on E (BD), ‘may also appear on A using 4 Bb (2%). The final cadena Interval {octave or unison) must fall ona strong beat. At the conclusion of a compo: ston its possble to cadence onthe third beat: inthe case the nal dure on wil sil be a breve in length, Further discussion involving interior cadences is reserved for chapter 5. Some typical cident formulas are shown in Ex 39, ASSIGNMENTS: “The following short piece in Bx 3-10 contains a numberof incorrect teat ments of dissonant, rhythmic, and melodie procedures, Analyze it fist by indicating the harmonic interval occursing on each beat, then ile each error and comment briefly Wirt short pice of about ten measures in duration in a mode of your own choice, Use both consonant and dissonant white notes, cone Ing with acorect cadence forthe mode. Try to incorporate several dif tent types of suspensions into the musi in addon ¥ passing tones. Use the following text Ce ee (With the Bly apc ithe gly of God the Father) IMITATION 1N TWO-VOICE "TEXTURE ‘The use of imitation ora point of mtation) may be considered asthe normal procedure a the beginning of sacred polyphonic composttons in this pe tod. n addition, the introduction of new text and thematic material fel lowing intrioe cadences is also usualy treated in an imitative fashion. The following remaris, however, refer only tothe opening point of imitation in | worse piece "The temporal distance between imitating voices i normally an even number of beats, usually 2 4,6 oF8. Vatuallyallexcepons occa innit ‘ion per arin thsi, where the distance of one bet may be encountered "The most common intervals between imitating vices ae the octave (Giaason, the perfect fith ape), and the perfect fourth (dateseron: ‘the union fs sometimes found, Ifthe second voce i imitated below the ‘opening theme, the prefix sub is added (suldipent). Either voice may be {Bin fist. The speci pitch classes chosen to inate the piece wil depend, ‘of course, on the mode employed and may be found in Fig. 17 "These of strict leat) imitation throughout apiece WOuld result ina ‘worvoice aon (kom the Greek word for rule). This procedure is discussed in chapter 5, Examples of tee (or sale) imitation are more com- ‘manly encountered, Here svc imitation is carried on fra few measures land then dropped in favor of simple fee counterpoint in this regard consult Ex. 3-118. The theorist ofthe period used the term fig to denote that the intervaic progression ofthe tating woe i exactly ike that of ‘the opening voice (major second for major second, or minor third for minor third). Thus, the solmizaton syllables fr the imitating perts wil remain constant, provided thatthe imation takes place at some perfec interval. [Note that sa result EF (MiFa) wil be imitated by ABS (also Mi-Fa). This procedure is somewhat synonymous ta va ans, although this terms actually more appropriate tothe key-oriented Baroque period. However, by the midale ofthe soteonth century one may cccasionally encounter an ‘example of a foal anseer, in which an interval adjustment has been ‘made’ in the imitating voice. This usually results from some harmonic ‘consideration, “The inital subject in pints of itation will normally “scan in one of the three hexachords, allowing a range of Cup to A (tual), Fup oD (oll) oF G up to E (drum). Examples of mutation are rare. in instances of age at the ith above or fourth below, if the original subject scans inthe naturale or mall exachord, siltation wil appear inthe dara or nature Ihexachord respectively. Simi in instances of fuga atthe fifth below oF fourth above, if the orginal subject scans in the durum or naturale heva. ‘chord its imitation wil appear inthe naturale o mole hxachoedrespec- tively, Study the excerpsin Ex. 311, analyzing each point of itation for the pitch interval and time distance employed. by OD ewes a Le sen eghive . er — nape 1 Sedq agpniny ution © ik a aa f= kim) ASSIGNMENT etl a ‘Write two begining points of imitation in modes of your choice. Employ difering Intervals of imitation (perfect intervals) and temporal distances between the voices, Break ff the strict imitation after about five or six ‘notes and continue n free counterpoint. Each shouldbe about sx or sever ‘measures in length, Concude with an appropriate cadence. \we 6 toy vt) Pave agergh hace 19 sagudbne @ Swe joey4 Melodic Writing with Black Notes Before incorporating back-note values into two-voice pelyphony, itis nec- essary to survey the various idioms that employ these durations in thei dividual melodic ines. In addition, the problems raised by Hack notes as regards text setting must be diseused ‘The most frequent use ofsemiminims i found in stepwise motion ia the same direction. The single semi is encountered only after «dot ted minim the use of semiminim rests Fis extremly rate (te Ex 4-1A) Pais of stepwise semiminims occu only on weak beats (2 and 4). Aer & rminim, they may ether ascend or descend, but following a semubreve ot dotted semibreve, they usually descend (Ex. £18). Any number of Semiminims may occu after a white note. Examples of three to nine in the tame direction are not infrequent (Bx. 410), SSS SS engl smtniin med 0 prs x miltn gr o= can ec acy ae Th) toa eos dlownvard stepwise although rare examples of ascending patterns may be encountered (Gonslt Ex. 42) Stepwise semiminims with a change of direction, creating aus (ocneighboring tone figures) are comman. They generally occur onthe of beat (of any beat) Instances ofthe lower suxlary are much more common: see Bx 43, Leaps involving black note are somewhat restricted in ther use. One ‘ofthe most common figures is that ofthe nots combat (or changed note), ‘which i a melodie idiom frequently found in Renaissance music in the Fifteenth century soften consisted of oly three pitches (Ex. 444), but in the following century an additonal note, ascending stepwise, was added to counterbalance the downward leap ofthe third. This device may com rmenceon any best Thee diferent rhyme settings may be encountered; tote that despite te durational changes, the melodic contour remalns inhe? Corte ee Gane 2p 3 deg ndtee of tact (Ex, 448 fo D), The so-called “fled-n” cambiats alo common (Ex 4146). The idiom is never found in an inverted state (Ex. 44), \ “ Certain restrictions may be mentioned as regards semininio leaps Into or out of white-note values. Leaps fo semiminims occur only after 2 rinim (Ex 458 and B) In the case of single semiminim flowing a dot. {ed minim, the motion is always downward, with a subsequent change of Aiection (Ex. 4-50) After leap into a white note the semtminimis) a= ‘ways let by contrary motion (Ex. 5D to), Aad Wig ck Nes 28 Fuss ae found only a stepwise parson any ofbeat The two notes are approached and left by tepirise motion: however, upper neighboring, figures aze not idiomatic (Ex. #7) xan 4 ts FS TEXT SETTING WITH BLACK NOTES, robles en aise when stig eto paige nvling Hack ots ‘The flowing ve ren wl sev a ies these natancen 1 ne dom eal vo td De re Uy hemo at tn eels Se onan FE SaNay Obscme tt Ex FAC i core de Bc 46D Bund these oe Gehan fe acl Oe See inten | the ater ile wott file Regarding laps within semiminim passages the so-called “high and Jow-note lw” may be evoked.’ Downward leaps general take place fom the beat othe off bat (Ex 4-6), while upward leap take place fom the cl beat to the beat (Ex. 468) Direction is always changed fo Balance the Jeap. naling nein pg Sr, nD ga ae _nwolving leaps within oemimurim passages S auc t= ae Ghee Sea SS A pes of lick notes tepaning oma bea may inate syle, bat no Aine SAE paid fae fe pnp on Be 3 oe pune 49 ke aghttinthy ~~ ot 2 Te towing pegs of Bk ecm cry abe. ‘mist wat forthe next Hie Saran (ERG rats aly one et wda Nata wring wit ck es ey ra of ort alwing he fa ay ay ae mosh cate Sli os 5. Repeated nes ming ee wo oes mt Ff al” fea (Be #124 and 8) Tae omy exception ithe arin whee te wel ‘Spy renancate eC annie 433 oe ee eB Se msiecnm ‘Study carefully the melodic lines in Ex, 413 and $14, recalling the principles discussed that pertain to black notes and thei text sting, cannes on etc wig it Bk Nes ASSIGNMENT ‘Write two melodies about ten measures in duration onthe txt supplied belo, Inconporate various Iypes of back-ote idioms and be careful when setng the text. Choose your own modes. a ee Gat aw fewen and eat gy afyoun re er er my etal he Father, ‘Ame qu. ga 9 8 on ato, bes sTwoMoice Texture with Black Notes Ths caper das wth theo of tack note values in opr compos tons Extended panages of semiminims are not uncommon nts eee although asthe number of voces opine to cease, the dens of Back notes dene poorly. Towle pertain he wet consonance an sone with whe nts pacing nes ands sions) are still valid. pees me 1 the emiminin te consonant, simply observ he melo prin les eased in the previous chapter In this regard examine Ex 51 Thereare 2 numberof specific instances of dissonant black notes that require individual attention Unaccented Passing Tones ‘Unaccented passing tones may occur as semiminims on the of. bat of| any beat. They may ascend or descend, but mn always pass” against a value of atleast a minim. Study Ex 5-2 carefully, noting al instances of ‘unaccented passing lanes een Accented Pasing Tones “The limitations o the use of accented passing tones are even greater. “The accenied passing tone normally occurs asthe fst ofa pair of passing semiminims on beats 2or 4 with the dissonant interval fling he best Italways resolves downward, stepwise. In this regard examine Ex. 5A, “The figure in Ex. £38 ie particularly common near cadences The only ex- Ception to the pairs of semiminime may be encountered inthe socalled “filed cami,” shown in x. 5-3C, where the B fils he leap fom C to A, creating a thre-note figure. Ths is one ofthe few instances in the Style where consecutive dlaronant notes aay occu (Ex. 5). Dissonantauniaies may occur as lowe n oftbeat. Their use a8 upper neighbors, Kowever, i que neighboring tones on any SB ule re Study ExPoriamentos (or antcipations always occur onthe of-beats of beats 1 or, Although they are normally consonant and feature downward step ‘wise motion, some exceptions may be noted, a+ in Bx 35D. Their ma fnequent use is to omament a suspension, but strangely enough, they most never occur at the suspension before 2 final cadence (compare Ex S558 and 8). Observe the double pviamento in semiminims in Es. 3 5C Cambiatas In the nota cambiata the second note of this melodic gure maybe ther consonant or dissonant acting ssa esape tne). Ts the aly in stance in ths syle of nonharmoni one that nvoves leap Te fe nd third tones ofthis fourote melodic Hgure must be consonant. This lst ‘ote may be either consonant or dias ti sed as nin pas tone, however, the cata om should begin om strong best. Retr fo the instances of his igure in Ex 6A and 8. Do not confuse the cama withthe resolution of semiminim suspension, asin Ex. 380 anne 66 Segara LJ (satdsso sl Fs ar inary found in pis. Tey ae most fen employe omament suspension, partly at eadence in the case ofa 29 4 #3 Stapension, the second fase wil aw minature dasa neighbor i ihetint nai dnonant tera psn one or nighon) ie mos shvayedownwad: Several pic examples say be odin Ex 87 Suspensions ‘though the suspensions more prope a whitenoe device, there area num of lance ms oft oy strated ith Tee fv been aude fo above: an scented psig ote elaion fe Preparation x 530, an the onaentton ofthe suspended nok th [cr pramoo Bx 2 3A) orn pol ses 57). ten the prepara fons preceded by spa fc semis as in x 3 one the {ev insane whee ths om found oma tong estan ina send ine om 4 Sey i ‘The following theee examples wil serve asa summary ofthe forego ing aiscussion, They should be thoroughly analyzed, with particular atten- to paid fo the treatment of black notes as regards consonance and dsso- ance, Ex 5-9 represents a florid counterpoint set over a cans firmus (ot ageti) Its equivaent to ith species, alchough the theorists of that pe- fod employed the frm cintapuntodiminuto! Arata ed "For eal space so agreeASSIGNMENTS ‘Examine Ex. $12, crcng and commenting on any incorrect use of melodic {dioms, Randling of disonance, tythm, setting of text, ete. Do not Be Slarmed atthe large number of eros; there ae over twenty! parte $12 + = ss SSS et Write an example of free counterpint (no text or imitation) fortwo, voices, of eight to ten measures in duration, employing various types of Blackenote idioms, Try to include atleast one example of an accented portamont, combi, and eighth notes. “it a short piece of about ten measures i length incorporating ll ofthe various contrapuntal resources discussed thas far. Use the following text, and begin With imitation atthe perfect fifth Dies fan ck fh cht kt bi (xy mot haly clghten os) op pet re tedeewel Size a'sOther Aspects of Two-Voice Texture ‘This chapter concludes the presentation of those syste characteristics pertaining to tworvoie texture. The topics explored here include those of ouble counterpoint canonic weting, general structural considerations, interior cadences and phrases, and techniques encountered in instrumen: ‘al composition. DOUBLE COUNTERPOINT Invert counterpoint in two-voice texture (double counterpoint) involves the textural switching of arts 30 that he original upper voie becomes the towerand vice ve (12250) Ths, exh ke a adobe as an upper prt rab the bus. This device i fequeny encountered in Baroque fogue technique, where the orginal counterpoint is retaned with subsequent rents ofthe subject Homer, in the Renasance, compos es sem content to write new countrpints fo accompany rece, 60 tha the dence cous ony spor my Ofte three bas xtegories listed blow, counterpoint athe tvelth {is most equent. The fable inclided show the result interval ver sions rember that unison 1, not. Normally, the harmonic range of the particular type of double counterpoint under consideration i not x cveded ths docs cc, the llervas will no onger invert In double counterpoint atthe octave, the consonant and dissonant properties of the inetvale remain basically constant under inversion (consult Fig. 61)" ‘The soe exception isthe perfec ith, which inverts into a dissonant fourth, For tis reason all perectAifhs must be Ueated as though they were actully disonant interval, such 3s passing tones or suspensions Ex. 61 ilustites eeveral such instances. SSS - = ee In his five-voice mote, Aldus tert, Palestrina continually pairs ‘wo short melodic fragments in contrapuntal association, which resus i Several instances of double counterpoit al the octave, Two such excerpts fe shown in Bx 62, eae neers saree nipaeaaee as eaten‘The use of double counterpoint a the tenth is somewhat rar. Here ‘one must be on continial guard agaist simar mation in thirds or sth, 5 these invert ino octaves and ithe respectively, Study Fig, 62 for the ‘asous inversional properties ofthe intersas FIGURE 62 anal Te Dale Cnetopi a he Teh “The brief imitative excerpt in Bx. 63 is taken from part three of Le Istituto harmoniche, Zarhng’s monsimental treatise onthe at of counterpoint te SS Sat [Examples of double counterpoint atthe twelth may be noted with Some fequency in two-voice compositions. In the table in Fig. 63, note that the 23 suspension inverts ino a compound 43 (actually 11-0) 8. pension, and ice versa, Here the problem intervals the sith, which invert into the disso- rant seventh, Asa consequence, any such stances ofa harmonic sth rust be treated as though it were a correctly prepared and resolved disso- nance, Two methods of its correct occurrence ae iusrated in Bx. 64, fst as passing fone and then ab a7 suspension. ‘When employing some types of double counterpoint, such as that at ‘the twellth the sptal displacement of one ofthe votes may creat range or this reason i soften advantageous to transpose the pitch [Evel of both pars, When inverting and wansposing tthe same Sime ts feiplal employ te use ofa "mapi number,” which always one more Thane mde of inventor example hen a ou counterpoint Stthefwelth, 132» Dy In double counterpoint at he octave, fri anc, Wome wishes to tanspowe the lower pt a th higher rig in- Semon. then the eter woxe wil be Placed fourth lower, oF SPL 5 corset in counterpoint the teh he mst quently ued vansposiion levee Bf #81 857 28) = 19(2 + 1) Theis {emonstted in Bx 5. any, Pt oom eH owing pase represents on the eet eampls of Jour bie oumurpin the fel found In heretical wens. AS the cSla preces i ot gute nthe onal sure, realization 6 ie, es uang Sth sopra drape an cave whe the ose Boos hh. Note eco desoance nthe st measurerate ASSIGNMENTS Hove many diferent ways will the passage in Ex. 67 invert, using counter, pointat the octave, tenth, or twelfth? Wit out each workable version, di Fegarding unisons on strong beats. ae Wate se of about cight measures duration using coun terpointat "Notetis necessary. Employ two examples of “cor rect” sath. You may wish to transpose the parts if the range Becomes 8 problem upon inversion. Be sure fe wate out the clgnal votes fist and then recopy them showing the inversional process. bo whee ¢ : que et ‘CANONIC WRITING IN TWO. Voces “The canons composition in which the other pat (or pats) is derived from the orginal voice by rule hence the Grek word ison). This waualy revs in polyphonic piece employing stvct imitation throughout its duration. It twas fered a fags (oF imation) in strct style (pate) by theorists of the period. The frequent use ofcanonic technique had declined by the middle Df the sixteenth century, being more typical of the previous century. As 2 ‘esult examples of complete wo-voice canons are eatvly infrequent, a though the use of shorter sections of canonic imitation within the fame. ‘work of bicinium may be noted." The leading voice Gus is usually ii luted by the follower voice (oequont) at the perfect intervals of the “unison, octave, fourth, of fith, ether above or below. A two-vice canon. {s refered fo as a2 in 1” canon since only the guida partis customary ‘notated. The consequent then realized once the imitative interval and di tance are known. The pres,(§) is employed to denote where the cose entry emp he he ea) nts where te ‘nsepuete would cease lnitating. In the realzation ofa canon, appropriate ‘ase ela must sometimes be inserted for cadentl formulas otto correct {he tate, The study of tvee-volce canons wil be taken up in chapter 11. ASSIGNMENTS ree eons art aarenton soloeaoe eaee Pooler npg operyemenydluitcers ee eee eee eee ee a a ean Gens eaaaeremens proce rie, senna! Ea ae a an earn a sv hrtananeerst wiznae72 evans pera Ree cme Sse neces nrementpreanner canna Serre Sr ep pet a clatter pa a Sone‘ween the part (5 whe the ter involves some propotonal hythic ‘atonsip of one vet another” x, 69 quotes 8 brit, twonice proto canon fom Jsqi’s Lee smd mat Note the cb meer sgt cse of ts he ture the ¢ denotes the egal! notated vero, whe the © indies that the coequnt tbe resized in dbl note ales ora eaters ‘121. The ted breve in menus 910 wore nated alge nthe ‘igial cre. Note the porte occuring ona weak beat i measure 1. Kelze this canon coping out bth parson 2 trove score. cans 6 Jovi: bent Migs om ed (Foran capi ft dee we B 126 anit, MH ans ptr meen endo Oke Min “The musical structure ofa two-voiepiee is determined largely by is text ‘Ate the overall text hasbeen patttoned into separate phrases, each suc- ‘eaive new phrase is then given a diferent thematic ies, normally p= ‘Sent ination. Once the strc imitative process is dropped, the est of the phrase proceeds in ree counterpoint. Reeatries ofthe initia motive are ways accomparied with is orginal text seting The phrase will usually ‘onelue with a well-defined cadence although exceptions to this practice ‘nay be encountered, The same procedure is then repeated forthe follow ing phrases unl the piece eventually concludes. The resultant “form” thus be termed “sectional though-composition,” One possible ay- ‘ul is given in Fig. 6-4, using the text ofthe Ags De. Tintenor phrases generally exhibit greater chythoic activity in their associated thematic idest as compared withthe opening measures of a piece. They may begin with semubreve, dotted minim, or even jst @ Frinim, and commonly commence on weak beat (2 of 4). The later phvases usually conlain more instances of thematic rentries, A thematic Feenry wil normally appear after a rest, either one or two Beats in dura- ton. A theme may feenter any numberof tes, with various intervac Sind temporal distances, which offen resus ina kind of thematic “develop- ent” Fhe text setting, note valus, and a least the fist four pitches of the theme are retained with ech renty. If it begins witha dotted ors ple the reentry may omit 8 minim in duration (o- ~~ © BF aT). Sequences involving thematic restatements and even the "ate of set Compre feos maton) ar ewenty Se foe] = J (sai) tates wal _ eeASSIGNMENT Analyze Ex 7-2 In chapter 7 as regards the structural relationship of the Piece fo its text. Note the lengths ofthe various phases, imitative proce lures, and cadences tis important that the interior cadences of «composition do not un- duly inerupt the rhythmic fow of the music. Instances of interior dence conclading with a breve ate somewhat rare (se Ex, 610) Not al Interior cadences are “structaral,” in that they conclude a phase of text, since examples of cadental formulas may be observed within a phease, Tr Se Sometimes the caencing voice mo! involved with the suspension dit- sonance may conclude with any a minim, and then immediatly inisate the theme of the next phrase, a5 in Ex. 611A, More frequently, oweves, this port may actually rest atthe point ofthe eadental unison or octave and then begin the new phrase one or two beats later (Ex). The ss- pended voice ofthe cadence, however, wilaiues resolve upward, sally to a semibreve. Theorists ofthe period termed this technique an “ints: rupted” cadence (cena shige)” Several instances were shown in Ex. etic. ‘One may occasionally find an exception to the standard 7-6 oF 23 ca- ence formula. Several instances are given tn Ex. 12, although bea in ‘mind that thelr occurence irate "Sefer emo he tom dt ae, atough ts tr nol eak me teva device ow p30 he Be pe ‘ a, tant Cetin dae cet 7 ft © — tle anne 62 ._ ey fr SS pee . ———ASSIGNMENTS In light ofthe above discussion, study the last phrase (it nomine Domini) ‘rom two stings of the Benedict by Lazeus, Note any examples of rupted cadences. As regards Ex. 6 13, what type of avertble counterpoint ‘is employed during the course of the last phrase? Observe the use of the- ‘matic wequence a step lower in measures 1215. panne 619 {ass Hein [Mie atatine medal) Se = = ter BS ‘The movement quoted in Ex. 614 is unusual in that roughly four- fits ofthe pice i devoted to the last phrase setting. Analyze the various temporal distances and interval lations employed in the imitation of the subsequent reentis. en tpn [ a a - ==: — Snel 5 — : = PB =t= a ees = = ak ok in [ee at ite i 5 Bee fe in SSS Bess art Ss ee‘Asa final project in two-voie wating compose apiece of twenty to thirty measures using the text below. The Work shoul fal into thre dis tinct phrases. Once the mode inital tones, and interior cadence tones have Been chosen, work out such questions as phrase proportion text ep- tion, thematic rentes, possible use of interupted cadences, ee Grid fi mo eH am pro no BS, sub Pan to (te as ried abo for us, under Ponte Pe te ple sis, at se pul ts Piste Ipevaflend and bused wi) INSTRUMENTAL WRITING IN TWO- VOICE TEXTURE While the contepuntal techniques found in instrumental media come- spond basically with those of veal wring, cerain deviations, particulary inthe area of rhythmic weatment, may be noted In Ex. 6-15 are two pages excerpted from the part books forthe twelve instrumental pices in Lassus’ Neva aliquot. The' pats Wlusuated are those for Duet No. 13 of the eailecton, “The typeof printing employed here is called single impreson, in that the music put together with individual bts of mavable type, each of which consists of single nae or symbol onthe sal. Several nds o sts ‘nay be noted: semubreve, minim, and semiminim +. Some instances seth 3. ttof music fet have been inserted by the composer; others may have to be Supplied by the performer, Observe the use othe cutr athe end of ech liner which indeates the fst note onthe succeeding sal ASSIGNMENT ‘Make a modern fll sore of this piece fortwo utes, transposing the pats an octave higher note thatthe cant voice employe a treble det. Be careful to observe the printed rests. Then, analyze the duet forthe follwing ‘Point: (1) us of semiminims and fuss, 2) ehythmic eatment of suspen Fons.) cadental points, and () motive treatment and imitation. Do you {ind many problems with mus ca? I posible, perform the piece in clas, nasing a asl Brisk tempo, 7 Examples of Two-Voice Compositions for Analysis “The following sx pieces, consisting of complete movements by various Composers ofthe Renaissance, will serve to furish the student with exam ples of two-volce texture for subsequent analysis. Each shouldbe studied Eareflly in light ofthe discussion inthe previous chapters. A few com tment precede each work ‘This composition fall into thee sections, each based on the treat po ment of theme material, Not the rents i the lst two sections, with Some tonal imitation or mould subjects, There sno ext inthe orginal (cour on lowing Pe)64 came! woo Campana amg to tice Component Anat AMPLE font) 5 ‘ oS ae = xo tl = a SS AMPLE 7.2 Lam“ os" dv. 12 om Ha ae 198. ‘he stractre, cadences, onal moon thematic relionships, and fé = err ae aes 3 length of phases suggest kind of over srcike frm. Compare the fdowble thera preeration of he opening pase (what devie is em: ‘yes wih thi ofthe lat phrase. Note the plctrenque word painting [ae ie ‘on the word fren . + 3 3 se 4c eo 25 = - hstapes toc Campton na awe 72 ontmn (4-- 4. sate Sut sos ins ter spe nae than ad it pe chem, (is “ese” among. thors to them “adds Hs easly, ‘ie teen sat ms am Vie go Ma sh a seem Se tings tne” Virgin May * Re descendent, (Ger, mis na vit lm o> rom gut Wt lem dat 0° do- rem Tie tpoute a lower whch "ving gives fragrance) [AMPLE 7.3 Jt: Secs om the Mo Page ng 1518 Atha is eng of he Bendis telngs or prope tthe preity in wing heres in pnt ote rp (38 Sas Ein bio Reve amber of la expo spear a Spelt pte el nope ac doar he en “ ae me owe “we jing section is noteworthy for its alternation of antiphony-like phrases. 3 $65 tet iS whew lnge tel ae soe tae fe aS es <= diset ai Le ‘ wee[) mefew be le ceca a (cote on owing)gi oe te Campos Anas ast 73 oot % —p oo ima a omy fe fe = ate SSS =e = no == SS Se Se EE SS Ses wo fa & ~ i - dee pF 4 tr 7 fF = De mk « in 0 mir ve m4 SS =e =o oe, | a ee St Be nes di cus gui vest in no mine Do ie (Giese tho “Somes she name. ofthe Lord) AMIE 74 Cape Omen scr 5470, Caspar Othmayr (1515-1553) was among the Sst generation of Ge rman Protestant composers in the Late Renaissance. This ite bicnism is fone ofthe east contrapuntal setings of Ein fete Bur employing ther’ famous tune ata hind of elaborated caus frmas in the lower voice. Do al ofthe cadences employ the customary suspension formula?aera y mesentery ae ==> =| tm fe pe hw ™ eon a at Jo = = a =e - er a : Bin fs ste Bg tun ser Gt in gut Wee und Wal en. se Z. == {igh fortens sour” God, “a pind defense and weapon, on te ‘wa Der hte Ws Rend, mit Et e's eet met ex Mt Bie "od Sa" Moo sth emer Bo Sw pupa (Gost Mack nd welt an rus Re stun it = a GS fost Sides can ont” sor cee al Ee i lt en e- h. On earth ie ‘not hs eget) [RAMRE 75 ings Gall: Ot a Fon (36 i “This example of instrumental wsting by the father ofthe famous as- tronomer doesnot divide ito short, well-defined phrases with thee sal 5 points of imitation and cadences. Observe the interesting handling of sus- Pensions throughout this piace, and the numerous instances of changes of pre tem et fie Jane [ors sas fa vi = SS = = == Rearmed ee aaa ' = mS = ie72 team of wo te Conger Aes exAMME 7S conta F ve = ample fT tc Comat as xautt 46 Toms ey "0 Mee Ar oe om Caan To Yokes “Although this ls obviously a secular work, the compositional tech- sigue eoneles remarkably well withthe principles oftwo-voice sacred ‘Maing. A word about the thythmc notation: many ofthe secular pieces in Engl curing this period employ the semiminim asthe unt of “beat” Ether than the nin Forte sake of analysis, consider all the note values [being doubled. Observe that measures 1-9 = 108, and 1833 = 23-48 Spprounately, with he vice switched, although no double counterpoint ‘ipvolved, ths forming » large, epeated two-part form. The tex seting [Simeresing, note the harmonic tone in measure 47, Thi s probably ‘est thought of as an implad tree-volce cadence formula, which wile discussed in chapter 9. = ede [ume # Te Nees SSS14 tranphs of Tonos Conponi Ans amp oe Congest Ans 78 sts fet * = SSS a oo wnond te [ban and yet tent mp sm =a ee [atmtn & | 5 (e ea vwoond he fran and yet athbeedng mati per erens ar 7 ro w= SS = a= eee Tee Sea a —eTCCS = = aS see and ith oer fa get pa =f a wonder to caer we s = SSS == ie = == ote tr ‘awnee poe! eae ‘eq ao wound the [bear ath woundthe heart and +=>- SSS = =——-: = ‘heart ‘doth wound the Beart and yet doth breed no t prem reer coment = SS = steed es Zs = + = == ~ oh woot a Steel heel oe a . _ = —— ae asThree-Voice ‘Texture with White Notes ‘Although thee-voice texture is by no means the norm ofthe period, mu- ‘merous examples may be encountered.’ They wally occur in short 7 Sponss,offerores, motes, n certain sections ofthe Credo, and particu. liny in the Beneditus of the Ordinary ofthe Mass. The examination of ‘three-part compositions introduces the student tothe possiblities of has- ‘mony and full adie textures. HARMONIC RESOURCES Vertical sonorites or “chords inthe Late Renaissance were treated as a stiperposition of consonant intervals above the lowest sounding vole ‘Two basic categories of harmonic enties are possible. The examples pro- vide! will employ C as the given sus pitch. ‘The fist group incades those sonories containing thuee different pitch dasses with no doubling. AS Ex. #1 illustrate, these are equivalent {in moder terminology to major of minor tiads in root postion § (Ex. 8:18) and fist inversion § (Ex. 8-18). The § (second inversion) is not poss ‘ble because ofthe relation ofthe dissonant fourth withthe asus. The wide spacing shown inthe last chord ofeach category is elatively uncommon, snd Seat amp of Sr Cham Bp Se PNY Sinn Sen ‘As Ex. 82 A through D illustrate, one of the tones is now doubled at te octave. The fseus voice is usally the doubled tone, with an included peviect fifth, thid, or sith (asin Ex. 2A through C); doublings of the somewhat rare (Ex. 820). ‘The sonorties used atthe openings or conclusions of thre-woie compositions are limited in number. The most typical inital chords are igen in Bx B4A, As we shall ee inthe consideration of final cadences, most pieces close with either a doubled ceave or uruson (Px. 8-48), ak though some cadences wil ince the sonortes shown in Ex. 84C. Hecause of the presence ofthe titan, diminished triads appear only Jn fia inversion) 20 thatthe dissonaet interval occurs between Uppet ‘Voices rather than in elation to the lower pat (Ex 85). The use of aug tnented thads, also in are very rave in sacred style, and wall be dsat stp cussed, in connection with somewhat extic harmonic practices in chapter a Raised musica fits (Ck, Ft, and Gf in the unteansposed modes) are never doubled. Doubling can occur inthe case of BE. The B minor tad is avoided, as Fis not used lo correct the tone. Although musi ft Usually reserved for cadental points, it may sometimes be employed for more purely “colorsc” purposes, thereby extending the range of aval ble harmonic resources (A CH Ein place of ACE) "The total vocabulary of three-note sonortes, disregarding doubling and spacing is given in Ex. 846, For the wansposed modes, these would be raised perfect fourth dap ir Soto “tty mye ond der aS Minuet hie fe seek ean 7 mee et mand nce) gg = : VOICE-AEADING BETWEEN ‘CONSONANT SONORITIES ‘The following suggestions wil help the student to realize the principles of vole-eading between the individual voices of consonant sonorites. Gen- tally write for adjacent voice parts (as, alls, tenor oats, fener, bss, even two cantus part and an alu) Srve to keep the spacing between the voices faely dose, particularly in the upper pasts. The total {ntervalicspan should rarely exceed perfect twelfth, Even the crossing of voices i permissible for shot stretches. Strive for as complete ia texe ture as posible, although the veice-eading wil, of necessity, produce so- rorities with doubled notes, especaly at cadences. The harmonic consid trations should not distract from the task of creating good melodic nes Do not worry about the resultant "chord progressions” at present. At times they may sound quite “funcional,” although thre is usualy litle sense of harmonic movement in terms of common-practice tonal proce ‘dures, Let the Is create the harmony. "The approach to peeect intervals must sill be handled with cat. Unisons ae now permitted as doubled notes on any beat, bu they must be approached and left by contary or oblique motion (Ex. 8:7) Parallel Unisons, octaves, and fifths are forbidden. Interestingly enough, the de- vice of woicecrotsing may sometimes be to prevent parallel llth between the same voices, although the otal harmonic effect Sil re tains the parallels (Ex, #78), Extended passages of consecutive stepwise Ss (Get inversions), Known as fuatourdon technique, are not particularly ‘common during this period, although some examples may be found (Ex £70) The resulting parallel fourths are permis; however, he use of ‘compound thids (1!) will eeate parle! Afths between the upper parts (Ex B7D), Stepwise sucessons off or is reverse §} (usually referredto a8 $46 or 8) may be found as a means of staggering the parallel Sitths (Ge 87E and F). In similar motion to fiths (so-called direct its) one ofthe ‘voices mart move stepivse whe the oer leaps (Ex. 870). Direct octaves [ire somevhat rare; when they do ocur, the voice leading described above isin ettct (Ex 87H. Finally, avoid having all the voices moving or leaping in the same di rection (Ee 87), (wos) Psi: au De ie ee hitman ASSIGNMENTS Using the fllowing cots frmus asthe asus voice (Ex. 8), write an fexample of note-aganatnote counterpeint (or fst specs). Strive for melee lines snd fll twndic textures. The penultimate sonorty {willbe a diminished tad on B in fst inversion. For simile example see appendix (toa) SSS SSS} Stady the short piece in Ex. 89, which employs only consonant com bination in varous white note durations. Analyze each sonny frit in tervallic content. Then write a passage of comparable length on the follow ing text ase ChisDISSONANCE WITH WHITE NOTES [Asin the case of two-voice texture, only minim passing tones and suspen- ‘ons ate permitted” “The passing dissonance (on beats 2 oF 4s always compute against the lowest voce unless that part becomes a passing tone itself. Asin #0- voice writing, the minim pasingfones must move against at least aconso- rant semibreve induration. Single passing tones are very common. They may ascend or descend (Ex 810A), Double passing tones in hid, siths, and in contrary motion are permitted (Ex. 8-108). The third voice may Tap In minims agaist the passing tone and is statonaey note, provide that the leap consonant with ht the passing tone ad the other part. Note in x 810C thatthe C makes a passing tore with the lass; the leap to the F makes a consonant interval with both the C and sustaining D. ‘Why is Ex, 6100 incorrect? ‘The mamber of pos suspensions nesses in thee teste Astheremaybesevanteraic eons sve he lowest ve in Sento the stspension tits fen more meaning oir the ver teal combinaton athe point of saperion by esting $5 seen) ‘fsimply 43. for the nko compara he suspen in te flow ingerampe are paced onthe fet Dest ahongh ceo they ty ao ‘ccron beat 324 wal. The vaous aegoree sospensins te aed “rhe wo oining nto of whe ete aso comsnit outh ace cane in pee ms src of over dale quency Win ch up the moe ce ‘ove re acon ‘HOTS pelaps he owt common aly of dueice wen sons The f= B18) andthe {wo for of stun In STE ARTS Se vouch te wane 610) The id Ss nc army, pn te on po ‘Spe dhing sth mae a a ae indy Oey een me oeasoet a ath See Aantal ste fant of supers However he eel between USC upe kes aot snes mor sco 81) pe ei pe ern eminent soar canoes ties ieee Saison rae iteat te neat om et ba screeners aoe eee er tut by gc se he yy Haran fh eke se Yh Ena ne te me on Ca SESE Soot 27 Geng OD, pp StASSIGNMENTS amine the passage in Ex. 616 and mark ll examples of suspensions, noting their type, preparation, and resolution. AME 816 Pe Saree or = cE ai ——! fi onl (Gre and comment on the stylistic errors you note in Ex. 817. Take 5 af {nto consideration spacing, doubling, voice leading (particulary as regards perfect interval), and overall handling of dissonance (pasing tones and ‘The 9:8 and 21 suspensions are only infrequently encountered, The Suspensions). more common types (and 3) ae iustated in Ex. 614 (cone on lining Pe) “Two double suspensions may be found on occasion. They are the 7S and the |The #f form, cusously enough, is not encountered i the Style Consult Ex 815,paMne 817 mint «3 omy bo 4 8".9 Wirt a passage of nonimatative thre-voice counterpoint for aus, sls, and tena with all parts begining together. Break olf the piece ater shout ten measures. Try #0 wie at eat one example of a 43,745, nd 23 Suspension, in addition to various passing tones. Continue t© employ ‘white notes only: no text is necessary aw Cadences in Three-Moice Texture; Other White-Note Dissonance ‘Altera survey ofthe cadentilpossibties in tvee-voice compositions, the ‘emalning instances of whitenote dissonance wil be dscussed, CCADENCES IN THREE VOICES Dring the fifteenth century, a8 exemplified in the socalled Burgundian school the 7.6 suspension resolving to the octave in the cits and far formed the basic structural duet for cadence formulas. The remaining third ‘oie or conten, ra then added in various ways. From these resulting protlypes eventually evelved the cadences of the Late Renaissance. Since there is ite standard terminology in the theoretical treatises ofthe time sociated with Uhee-voice cadences, several expressions appropriated ffom common-practice tonal procedures have been employed to aid in {hele identification. The formula shown in Ex. 9-14, represents atypical early filteenth century cadence, note the paitof “leading tones” (Eto F and B t0 C) he By was gradually changed to a BS, producing a. diminished trad in st inversion (Ex. $18). The 7-6 Phryan cadence sil retained its {minor tad, although olen the middle voice resolved to 8 major thirdte catenin te ce Foe Oe Wie Dane EG (the Gf) rather than the perfect fith (Ex. $10), Ifthe third voice as added ase the structural 7, asin Bx. $10, itinvarably moved toa major third to avoid the resultant parallel fths. This formula will hereater be refered to as a ln tone Cadence. nthe Burgundian cadence ilustrated in Ex. 9.24, the conratenr was first placed below the 7-6 suspension, and then lesped an actave upon its resolution. This was eventually modified tothe form shown in Ex. 9.28, producing a above the bss. One may also commonly find instances of Ex $26, where the 7-6 suspension has bee inverted into the familia 2-3 formula, Not that inthe later tv cases all the voices resolve toan empty cctave. Near the end ofthe steenth century, however, one may encoun ter instances ofthe nansuspended upper voice moving to major third in the inl sonority (Ex. 92D) The base type of 3 cadence becomes increas ily common during this pevod forsake of reference will be termed an etc cadence. tee Alt ne sbone xml han en aed i whiten pasze the base suspension technique and voieleading Some insances [tthe same cadences are shown in x. 938 through C wih typical Back note elaboration. A frequently encountered formal involves thee ofa finim passing tone aginst an accompanying exp, which prepares the ‘suspension (Ex. 99D), An occasional augmentation ofan emtelished sus person, as shown in Bx 3, can Be found i rested to nal ce (erent of mpm mnt T“The remaining cadental formula is noemally encounterd a the con- ‘sion of ‘ompostion. Its fiteenth-centary prototype is shown in Ex S'4A. Here the cntas-eor duet outlines a Phrygaan cadence on A, withthe ‘ntrtenor added below. This eventually evolved inte the standard form of x. 948; note tha he lst sono is always a complete tad. In terms of tonal harmony this resembles a "half cadence” in G minor; however, one must remember that the concigding chord is Bult on the fnls of the ‘more appropriate, Several typical in Bx. 94C and D. Often, pagal formulae appear as a kindof minature codeta follwing the more st the eign ofthe stereotyped formula fominant is encountered over a fonie “The interrupted cadence of two-part wating sil finds its counterpart in twee vices aan interior punctuation. Now, wo of the vice reaolve toa octave or unison, wile the hed artis reef inate the next point fof imitation in the following phrase. Observe, however, thatthe sus- Dencied voice ts required to resolve, Several instances af ths procedure are ooted in Ex. 946. The usual minim rest occurs in the cant and fais respectively. panne 96 yt tft Ptr rt ryt eas Mate Sein Toi Fle ee Several other types of cadentia formulas may oceur at the conela- ons of interior phases in a pece. Sometimes the bans of an authentic ct dence wil not resolve into the octave but, instead, move to some other tone, often in ascending stepwise motion, crating a typeof dete for sla, This is particularly wsefel in preserving the fonal ow ofthe music. Several instances are shown in Ex. 95, a In order to preserve the seamless quay ofthe polyphony, a form of overlapping (or dovealing) is sometimes incorporated an interior cx ‘ence Here the leading voice ofthe next point of imitation enters eire the ‘dential formala is completed. This wil usualy involv the interrupted formet discussed above. The oveap s normaly net more than four min- ims in duration. Although this ype of punctuation requires abit more in- fenuity on the part of the composer es particulary effective in main- ‘ining the rhythmic ow of the muse, A typical instance is shown in Ex. 97 sales ® eat i = f eS 7 opASSIGNMENT Complete the final cadences in three voices, using the fameworks shown In Ex 93, Identify the eadenc type and mode ofeach. Then compote an orginal interior cadence of ether the iterupted or dovetaiing variety. Stat about a measure before the cadena formals and begin the fist fe" ‘notes of the flowing point of imitation in al three voices of the next phase a“ a © ‘OTHER WHITE-NOTE DISSONANCE ‘Two other dissonant combinations involving white notes remain tobe dis- cussed the f sonority and the socalled consonant fourth “The $ 5 technically not «dissonant chord, since both upper voices sae intervallialy consonant with the lowest part. However, beause ofthe presence of the dissonance ofa second (or seventh) between the upper pars, the ith above the bss is usually treated a ift were a suspension ‘AS a result, the f invariably falls ona strong beat (1 or), Upon the reslu- tion ofthe suspended fifth onthe nex beat, the lowest vole usually moves Upward by step, a kind of change of bass. The most common form ofthe 3 Ee istated in Ex. 99A. The} i not normally employed ay part of a ‘xdental formula, although ane may find occasional examples of such treatment. Two other typical uses are quoted in Ex, 99 and C. Sometimes the resolution ofthe wil esultia the formation ofa rootposion dimin- ished triad a in Ex. 9-9D. However the ith above the sus nthe actual {is almost always perfect (Ex. 9-98). The final two examples illustrate ex Cepiions to the normal treatment. n Ex. 99 the sch is prepared and = solved! A rather ve “ree” handling occurs in Ex. 9-96, emphasizing the Consonant relation of the chordal interval othe lowest part. panels 99 ed fo beat dey & honk a = or $4 5 “The consonant fourth i a device normally usd to prolong the “domi- rane” inthe asus of authentic cadences. The cig ofthe term aries fom the fact that the fourth, occurring on a weak beat above the lowest voice, serves asthe preparation for the fllowing #3 suspension, a function usi- Ally assigned to a stclly consonant interval. In reduction it resembles 3 kind of neighboring j over the cadentat “dominant.” The fourth i ap- proached stepivse and the sustained lass must be sounding pit the Introduction ofthe fourth. The normal frm ofthis device is shown in Ex SOA. Note the voice-crossing in Ex. 9-10, the Gist Cin the clus i 2 passing fone In Ex. 910C the f results from the resolution ofa {suspen Sion: this is a particulary favorite device ofthe English school. Finally, the ‘and consonant fourth are equently combined; the use of the portament) fs common in this context (Ex 9-100)ASSIGNMENTS Using the passage in EX. 911, circle any incorrect stylistic procedures and ‘comment upon them, the ‘Wie aneample of roinitatve thee polyphony of sont ten smeaurrn duran, Chose an approprite dene fer Your made, ae {yf incorporate tet one campo a and consonant orth ine ‘Bin to the ust white ote passing fons and suspensions No fx ‘ay10 Black Notes in Three-Voice Texture; Imitation and Reentries For the most part, those procedures observed in two-voice wrtng tha in volve the use of black notes continue to be flowed in thre: par texture The following additional comments may be noted Essential harmonic laps may ocean other pats agains semiminim passing tones, either unaccented or accented, in Ex 10-18 the cans leaps gaint the accented passing tone in the alts, which forms part of a {len coda. Observe the semiminim lap in the altus agains the up per passing tone in Ex. 1018, Remember that such leaps must stil be con onant with both voices, ati the procedure with such whitenote situa tions, Be. IOC iustrates an unaccented passing tone placed again the second note of a bits grein the tus As the raul of the interaction between simultaneous nonharmonic tones, occasional dissonant pales ‘occur In Ex. IDID a lower neighbor is combined witha consonant port mento to create parallel seconds. In the sume manner, lower neighbor ‘ay occur with an accented passing tone, producing parallel seventh, as In Be 108. Finally, the ase of an accented pasing tone and is subse- ‘quent resolution may be incorperated in consecutive 4 suspensions to {void parallel perfect ths inthe lower voices (EX. 10-1) Particular attention must be paid to the simultaneous use ofa dotted minim and its flowing semiminim agsinet another minim. Study the various instances quoted in Ex, 102, particulary noting Ex. 102D, which produces an incorrect suspension onthe secon beat. ASSIGNMENT Wire 4 passage for thee adjacent voices of about eight measures in dara on, employing various Black-note figures in both consonant and disso- nant settings. No text is necessaryIMITATION AND REENTRY “THREE-VOICE TEXTURE “Three voice imitation almost always involves the use of some fith relation ‘between a prof the voices, either a perfect ith or fourth up or dove ‘Ths principle not only applies to the opening point of imitation but to those within interioe phrases a well. Inthe Doran mode, or instance, the intl pitches ofthe Beginning point of imitation would usually be DA-D, ADA, DDA, of AAD. The principle of fuga remains in effect, producing what might be termed "veal answers” at the perfect Ath of fourth. Once the imitating voces have entered, the texture will normally ‘break nto free counterpoint ‘As regards the temporal distance between the consecutive imitating voices, a varety of situations may result. Asymmetrical lations are, per haps, more commonly encountered than symmetcal; here the distance between the second pair of entries is temporally varied from that ofthe fnital pair The fst two voles are almost never moce than four semi- breves apart. The order of entry of the various voices employed (frit Stance, clus, alls, few) shows no clear-cut tendency. Several examples ntl points of imitation are quote from the literature of the period be- Tow In Bx. 10-3 the Phaygian mode is employed, hence the use of pitch lasses EAA, Since the temporal distance Between the ene ssymmet ‘ical (our semibreves) double counterpoint tthe twelfth s used 50 that the relationships between the fst ftv imitation may itr be preserved at the octave; compare the lenr and bass in measures 3-4 with those ofthe situs and bess in measures 8-6. The opening E-F(M-Fa) necessitates the fuse of Brin the entry om A. Vi: Emir Mepiet Trion = sé * a ms SS = Ex, 104 makes use of the transposed Minolydian mode with pitch caasses CGC. Here the temporal entries ae asymmetical with distances fof one and four semibeves respectively, The opening imitation is almost ‘stretoke in its effect. ne 104 rin: ti at ei se pseu = ieee: =t aS is z Asymmetrical temporal distances are also encountered in Bx. 105 swith three and four semubreves employed. The customary pith dasies of the transposed Doran may be noted (D-G-G). The occurrence of the tonal lanjorers inthe lat peir of entes i rather unusual; apparently the composer was intent on strongly establishing the quality ofa G minor trad. It Inay be observed that mor tonal answers involve the modification of a per fect ith or fousth This procedure may represent the orgin of tonal an- ‘wer invalving tonic and dominant in baroque fuga technique, pane 105 Fier Con: Bc Mine Rpm mand ‘he ren Cain: ans tes Repnam mand ach niente ee by entice ek) nt inne Desi; Sa Sty ti ne F toe HE === ‘Those principles observed in Intl points of imitation hold tue, for ‘the most pat in instances of interior points of imitation fallowing internal cadences. The thematic subject of interior phrases appear fo take on a ‘motivic character and the temporal distances between ene ate kept to 4 ‘minimum. As mentioned in the discusion of bwo-voice polyphony, themes beginning on weak bets are common. Filth relationships between Pitch classes ofthe imitating voices are sil retained. The inital tones are fenerally related to important strctural noes ofthe mode in addition to their atendantfifth-relaons. Thus, in the Dorian mode, iterios points of imitation beginning on FC or A-E—in addition to D-A-would be fe- ‘quent. The diagram in Fig 10-1 summarizes the various points of imitation Ina short composition, a8 regards their tonal and temporal characteristics. ‘The major cadential points are also included. aah bh aH ity Nocatee Reenries ofthe orginal thematic subject within the phrase show a smarked inclination on te pat of composers retain the inital pitch das- tes found inthe opening fith-eltion. Whe this is by no means totally fonsiatent, it does appeat to represent a strong syste feature onthe con- finent. Tonal adjustments and slight shythmie alterations are not uncom ‘mon in entries, Then namine Doin section ofthe Benedicusin Ex. 106 provides an opportunity to observe this manneism. Stady ths passage ‘aefly as pars the Varios reentriesit may be observed that the use of Bas an inal imitating toe is rather uncommen, xan 108 an: Ladd nomen Del not)PANNE 104 conte) oe (lord have mecey) Reproduce in Fx. 107 a short Benedict of Lassus, in which only the basi tative entries oF reenses have been included. Fil in the re Inaining voues with appropriate counterpoint and lext-seting, Note the Interior point of imitation an the words it nomine in epard to subsequent reeizien of the i nomine theme. Be ne dt-ctus qui ven iy a nb mk ne Doe min Blessed is he who comes inthe mame of the Lord) peaneue 107 ana: Ree in rodent) ASSIGNMENTS Write two opening points of imitation for thre voles on the text below, Employ diferent voice entrances, temporal distances, and intervallic rel oe een the pars Tncerprte el arses cid i as contac on folowing PB) These wo woh may be ein ev ileal wae: Kyte orn ane oc olson aa(ese _—SS = == —— be NN Daraphrase Technique: Ber Sealed in Canon In addition to a discussion of paraphrase technique, this chapter wil n- ‘ude an exploration ofthe problems encountered in three-voicecanonic ‘writing. PARAPHRASE TECHNIQUE Since the inception of counterpoint with orgamum, the practice of basing polyphonic pieces on preexstent musical materal has remained one of its {ost common procedures, The Late Renaissance sno exception inthis r- {gard, As concems musical stings of the Ordinary ofthe Mass, one may ‘ote that out of roughly one hundred examples by Palestrina less than five fre “fee compositions,” the remainder finding their orgns in preeistent Sources. Alas theee distinct means of employing preeitent materi ‘an be found. The use of eatus fms and porady techniques will be di ‘cussed in detall in chapters 14 and 17, especuvely. We wil iit ourselves for the present tothe femaining procedure, that ofparapras, During its inal development in the Early Renaissance, it involves the elaborated ‘quotation of given chant in only one ofthe voices. Init later stages, the plainsong is gven to the other voies in the pint of imitation. By the as- feemth century, the pitch series ofeach separate phrase of the chant forms ‘he tonal material for the themes of the sucessive point of imitation in apolyphonic pec The complete chant phrase is quoted in its entirety in at FEestone ofthe voices, and it may even be incorporated inal the pares. The dderwvation of the subsequent themes from the orignal plainsong i always fairly obvious. However, some lense was alowed. One may observe stances of ellpsis (omission of one or more notes), intpelation ofa note, ‘maenlation, and even extension, In addition, transposon, wwally at ‘some fith-relation, i not uncommon. inthe cas of the mas, ew txts ‘ubsttted for that ofthe orignal chant "The basi compositional problem forthe student employing thi ech- rigue is the arangement of the orginal pich sris ofthe Painsong in Such a rhythmic fashion tat, in a point of imitation, the opening mative ‘will overlap in iniation whe sil employing the Fith relationships nor mally encountered in three voies. The fst five notes of a hypothetical thant are given in Ex. II, Study the to opening points of imitation base on this phase in Es. 11-2 and 11-3; the chants bracketed in each voice, The examples are inthe Ionian and Lydian mode, respectively panne 1 (to) — = S| i. aS ASSIGNMENTS ‘As model of paraphrase technique in an entire movement a short poly setting by Palestrina based onthe hymn Ad pres nosis is quoted In Ex. 115. Te orignal painsong, with each pitch numbered, is given in Ex, 11-4 Note that one ofthe voice in each pint of imitation wil present the chant phrase in longer note values these voce prt are indicated be- low each phase ofthe chant in Ex. 11-4, Trace the manner in which the successive phrases ofthe chant are incorporated ito the various points of imitation, and as reentrie inthe successive sections of the piece, by using the numbers ofthe chant pitches. Change of text will serve as a clue in dividing the various phrases. The mode is Lydian, although the final c- dence son A, not an infequent occurrence inthis mode, Can you find any cramples of dovetaing dence? oaRa ators108 spate rece: Fre as i Canon SAP le casiactrcises 7 Sa a == == = = == = Ton 9) — oe ST ey ee ae : = # ont) =n = os AMPLE HS Tadeo Cheat) Spe nom tat re) —_ a ee z fet : = oa 5 Se 6 B= = A 7 = seep eel - = _ we wee ia ie == : ' wn te ie = = = - =e [peepee . eS aS a = ee “J avaktea, cade Suny 7 lye. as a v2 shes shies a a a coon on along FErace shin Fat Susan 8 SS = ¢ Set Using the three extracted phrases from the plainsong Pang lingua, write a thyee-voce composition In paraphrase technique using the flow Ing text Ag ms DE gel th bs pe ck omun d (land. of God, who takes away the sins ofthe world, meee ene ns bi Fave mercy “oo we) “The original chant phrases and thee respective text are given in Ex: 116. ‘Aste mode i Phrygian the most ely pitch classes forthe opening point of imitation would be E and A, although E and B are possible. One Students realization of the fist phrase lustated in Ex. 1-7. In this case tach voie continues the chant phrase to fs conclusion, This snot abso- Ttelynecestary in every case, although one would normally expecta ast ‘ne of the parts to function inthis manner. ‘othe interior cadences ofthe pace in elation to the mode, making “exam ass of he ys om g's Mn fami sd on ict oat, “Hoan rps Tee pp.12 Pape Technine: athe Sain a ‘There tm Png gn ping hy) Prag chit Shes Cron 8 THREEVOICE CANONS (3 1N 1) As noted previously in chapter 6 the use of anonictechniaue, particularly in textores involving three or more voices, had declined in this period, as Compared with Hs more fequent employment inthe fiteenth century Nevertheless, composers of the Late Renaissance occasionally retuened to this procedure asa means of demonstrating thee technical aby within a strc, confined discpline” One may sometimes encounter “canonic” ‘asses—entre works written largely i hissy (so-called mista gam) “The method of writing atwo-voie canon is relatively simple in that the conequete voice Stic imitates the guia voice at some given perfect Interval fuga Late) The problems involved with the composition of 2 ‘hreevoice canon, however, increase almost geometrically. The possible ‘ways of laying out the opening pont of imitation wil be discussed fist. Perhaps the simplest method ito commence withthe uppermost prt and then imitate the lower voices in succession atthe seme interval relation (usually a perfect ith or fourth below) and atthe sme temporal distance, ‘resting kind of symmetcal point of imitation The opening measures of canon employing this approach arelustated in Ex. 118; the interval iation i atthe subdiatesseron and the time distance is two semibreves. ‘Obviously, the technique may als be reversed, begining with the lowest ‘oie fist. With symmetrical thre voice canons the fugu concept employed inthe cnsequent voices is usually dropped. Thus with a subject answered by successive descending fourths, CDEF = GABC = DERG, not DEFt G. inthis regard consult the opening of Bx. 8-1. In situations similar to those shown in Ex. 1, the interval relations between the upper pai of voices are successively transferred tothe lower two parts, One must there> Fore be on guard for the occurrences of perfect fourths, as they canna ap- pear as consonant intervals between the lower voices, In paticalar, one cxaune i18 —— ig = Si be = = Rp fe = cs 7 7 == == sure thatthe new pitch ces fr eich scceting pin of imitation, ised intr an the chant, lg i" only othe precling nee : ri dence. For example the is cadence might center ob, whieh would ar vo Rye" ei ining) low the next phrase to occur onthe fith-relation of C and G. Iie possible to work the lst notes of the final chant phrase into athee-voie Phrygian cadence to end the pec, Try to include at least one reentry ofthe subject {the last two phraces, ‘Alsat ilomaton on cane may be fund Atel Mann an. Keath wisn nef hw Gee tay et pp tS Rea iA hn Cn na et, 209)AME TT Gon ‘ust wate for §sonortiescontining fourths (consult Ex. 119A in this regard). Alo, one must be caefl about using thematic ideas containing “cessive numbers of melodic eas of fourths or fifths, as tetone problems ‘an result with imitating voices later on (as shown in Ex. 1-58), Ex. 1110 utilizes symmetrical temporal distances of four semibreves ‘between the pats but with the use ofa single filthrlation (C-F-F) typical ‘of conventional three-voice points of imitation. Obviously, the interval relations between the inital twa voices, 2th apart wl nt hold constant withthe octave imitation ofthe ater two. In eases ofthis nature, the em agen eign: be Sas ncanan 18 of some type of double counterpoint may prove use. Notice That doubie countepointat the lth has ben employed the asses voice is subsequently transposed up an octave and the few down a perfect ith in measures 56 (@ +5 = 13) wt ‘Opening points of canone imitation employing both asymmetrical i tervalle and temporal relations create extreme problems as regards the Continuation ofthe trict imitation In Ee 1-1 the itth-eation (C-G-0) is used with distances of two and four sembrevesrevpectvely. Not thatthe fe a = SSS Ste (nines nog 78)ne Pape chu: ate Ses nan AMPLE HIT ot counterpoint inthe thied measure of the for must now also beable to "werk" with the upper voice when its transfered tthe fsus in the fourth measuee. Are there other sila situations? “Another problem i the setting up ofeadental formulas within the “tec, canon texture, two ofthe voices ofthe eadence having already ap- peared eae, although ata diferent pitch evel. Stuy the ial cadence of {he symmetrical canon showin Ex. 1-12. In his lnding-tone cadence the {8G ofthe lasas hasbeen antipated inthe previous measures (C-F —> D.C A.G).Inadditon, teats suspension has bee Setup in the cts 1 measure belore (C-B-C -» G-FE-G), ‘The same situation, ofcourse, eecus in interior cadences a8 well tis small wonder that three voice canons ae not always the bes source forthe Study of interior eden punctuation. Ex. 11-1 lutates an iterupted Interior authentic cadence; note again the anticipatory technique. Pasco Techie Stina 117 _ ote == Fs == === SS Asionents (Make a careful analysis of the threevoie canonie “Beneditus” from Palestrina’s Mis ad fam in Ex. 125, noting the various techniques dis- ‘cussed above? Ex 1-14 quotes the leading or guid catus voice of the famous Now nats Domine, sometimes attbuted to Wiliam Byrd Realize the complete ‘anon for three voices ince there are several tferent solutions. no hits {re fumished. Therefore, the student mast determine both he feporal and aM Te Nona Domne anen) ee wooem 8 ie am oem ee em seyret Ca Pras Pa at al So ener ed sos orn Teac nee yee ef MO Sana Prat ea my. nn gsthe intervalic relations between the imitating voices. The use of repeat signs suggests that itis an example of «peel camo without conclusion. Do you note any stylisie deviations in both the given guide and your realization? 'AS a preface tothe folowing assignment, study the opening mess- ‘ures of the itt voice in Ex. 1115. Often, a ace 9 assist in the reali. tion af a canon, the composer would attach tome cryptic inscription oF phrase, resting in what is sometimes refered to 38 @ “pss anon.” Hire the twofold "rejlce” implies a par of imitating voices. The chapter and verse numbers might refer fo the temporal distance (at four sem breves) and intervalic relation (each voice a perfect fourth lower. ei nthe Lord ava yi $4) ‘The complete realization is given in Ex. 1-46. SSS are (ex ett ie "Two ample of pase ann app in E126 Paap Tchnue fare Stes inCmon 118 ‘Compose a original thre-part“Puzce canon” without tex. After you have completed your fll score, wre ot only the gis vice a {aus some seomparying phase o phrases that contain hidden dus as {othe intervalic and temporal Sstances at which the miaing voles en- fer Be sure to incude a coats sign (>) to denote the lst itated note Inthe leader vic. Then exchange papers with your fellow student to see ifthe proper reslaation canbe area =12 Axa of Three-Moice Compositions for Analysis, ‘A variety of three-voice genre are iistated here, including examples of tediive procedure, paraphrase technique, and three instances of cananic [AMPLE 1245 ong: Ae wr Pa e150 Each pars of this interesting litle miniature is divided into two sec- tions the fst of each consists of a two-vice setting for a pai of upper voices the music ofthe duet (with ferent text) is then repeated exety ith a lower part added to complete the three voice pelyphany. Only the final section of Pars I's quoted here. Examine the upper pars frst as an ‘eample ofa self-contained duet, and then consider the sdiional voice in regard to the principles of three-part writing. Note the frequent use of ‘ombita and the curious secon fom measures 19-21 employing oly da ted minims and semiminims, ample ot The ee Consors at == cr ié se ep pa 5 a \ tS Se eae . Be a= A Ee ton + ste ort in xa mise. Tac an PS Breast Seats eet ‘The text for this example comes from Psalms 6820; Pars Tisbased on the following verse. The pce i divided into three welldefined sections. Although the opening point of imiaton is symmetrical with all three ‘nines on A subsequent reenriee ofthe subject feature variety of die tent tones (FA, G, and C)- Notice the stein measures 1011 The final ‘ection, beginning in measure 23 with the overlapping cadence, comprises ' fascinating study in white-note suspension techrigue In what way i this tng related to the tex? ample hee Conger Ant 3 ge Z = Hees 2 irs los pe ee . ” = é F axe een oe ~ = ae SS os oe fe r= z em —— = or! {cone long 8)126 mee opto y leant tes toe Cong Ann 18 xawrie 122. (onion) = _ a me) oe ce | pt me ne bal = me wee |e me [= Z me me Gee me) 2 a 7 meme mde fe a me = [Se re en po mim raw 6 do: en as a Deas spt me Pow "poor and dsvesed,salvaton Your, God, “ace me) LKAMMLE 1225 Pais: Boden hs Ms dee S70, ‘The next three examples are settings ofthe Benedict by Palestina [Although the Sanctus of this abbreviated mass incorporates chant par phase, the procedures not employed inthe Benedict. This piece is par fieularly ch in various dissonant devices (suspension, $, consonant Fourth, cambst, et). Analyze t thoroughly in this respec. i& a i= oom fee ef om mp t =e [em es = = od oo otro own) es124 tual a Thee Cmonton As = = ute Fe ot fe 4, = ae tea [ve a a oe By oe = le ae SS sett 5 a wo | eae ae Sep = > be alee = vin | A ————— 4 0 ze a4 = ns wnt ne Bo oe as poppet ! =a a « | sich in | no me ne Dor pid aun peel [2- yes —— = aS a =a—_ Fo Examples of Three-Voice Compositions for Anwiyay 128, toh a Um [ae mh ae Oe ar rom me [bo = ]s = ars - ea 9 = Se Benedits, gui vent im namine Domini ie (Glee is he otho comes inthe name othe Ld) wie [AMPLE 124: Pali: Bech Mia ten Chi es 80, = at A cassc example of paraphrase techrigue, this movernent is based fon two phrases ofthe chant quoted below, Trace the relationships of the themes to the plainaong melody, employing the numbering system dis. oe “at ‘cussed previously. Some degree'of liberty has been taken with te lst phrase. Locate ay illustrations of oveapping cadences in the fv none section. Ae there any instances of sete this work? ‘Apons-lonm o-ram lade cme debe 4 ' * ua Poet ig SS SS sapere130 ramp of the voe Cmgoean fr Aaa v— ania Tece Compo fr ins 138 24 oma anus 15: Pi Bsn hm NM a 67 “An example of three-voice conic writing ented Thre unitate, this movement is typical ofthe stctimitative technique found throughout {his mass Tra code of successive symmetrical entrances, each voice be: Ing pevicct ith lower, a he distance of foo semibreves. Observe the ed) ‘Renee in which Palestina sets up his interior and final cadena points Dea [tneasures 67, 89, and 12.20) noting the means by which he avoids paral- fe in the st instance De at a 2 ‘ == oo Somes =] Tt = iF a ae + “js HE le = tems a lig12 amples of Three vle Compton for Anas AMPLE 125 Gon) ape othe en Composter er Anos 133 frmus (based on a mise), Above the lower voice he adds the phrase Tuo farts in oe. ln hat way are dhe to asus parts canonic (Hint see meas- {re 7) What problems are encountered in the wing ofa work lke this? + a a Ja Fee md beatom i the bythe handing ofthe ler voice a . ough ot uns nore mel = — to me ‘Do mb = ees = . oe is at ——= 4 Se SSS Set 4 ® + £ ae [wane on RAW 126 dro eC on eM 5 wan Bp Peale Conon e157 To elation of pee canons tom the Eglh cho! lo Treinscipton rom theft pce read asollows Thy ange tha orca pepo eben tnd tegymnyth amis undete eipar tee a e ak bh yrs gees he ae San ceaANE 26 Gam B General Considerations of Four-Voice Texture; Familiar Style Four-and five-part textures may be considered the nozm inthe sacred n> ‘cof the Late Renaissnee. Some comments concerning the general han ‘ling of four voices willbe presented inthis chapter. In addition, the ques: tion of homorhythmic text setting as exemphiied in famiar syle wall be BASIC CHARACTERISTICS ‘OF FOUR-VOICE TEXTURE “The typical choral Iayout Is for ats, lus, enor, nd bass. As noted in chaper 1 ether the higher (hurelte) or lower (hari natura) lt system thay be employed, varying the range ofthe voices by about a third. One tay also on octason find exceptional anangements, such ascants, nts, lus, and tenor or even two fenr and two bass voice lines. “There sppears to be no ovesding tendency to double pases te auc member (roo, third, oF th): sonontis featuring doubled fifths oF thirds are found about as commonly 98 doubled rots in polyphonic tx- ture, although the composers strove to maintain as compete tad sonor- ites as possible, instances of momentary tpled notes are by no means ur Usual, However the doubling of any raising musicr ft is avoided; the ‘doubling of Bt in its root positon may be eccasionally notedJn addition, it is dicult o observe any basic consistency as egards| the spacing of chords in typical polyphonic pastagen. Various arrange ments of “cose and open’ lessor more than am octave betwen the cts nd tenor) are encountered. Large intervalic distances between conse tive upper pars are not ordinal featured for long pecods of time, al ‘though bie instances of voice crossing are permissible, Study Bx. 13-1 in light of the above discussion, Sr oe pe epee x 7 ee ae. z p= Parallel perfect intervals ae sil forbidden. Ako, one must be on guard against any instances of “contrary” octaves or its (Ex. 13-2). One ‘ay encounter instances of simular (r diet) octaves. Otherwise, the rales regulating the approach and departare of perfect intervals are sma 19 those noted in thre-voie texture in this regard review chapter & = dwt mde pane (comme 8) ‘The most common cadential formulas may be thought of as base ex- pansons of those found in three-voce writing, The 43 authentic cadence fends to become more frequent as the number of parts inceases. In the ssspension the additonal fourth voice usually doubles the bass, a in Ex 12.3 through D. Not that the sith or third produced bythe suspen” ‘on resolution continues to move to the octave or unison respectively, ‘herby retaining the wo-voce claude sos as a base structural det (Ex. 133A through C). The impefta cadence involving a sath to sath may ce- casionally be observed, aithough itis not common (Ex. 13-2D). The voie- Jeading wil nopmally peoduce an octave anda perfect filth oe major Ud ‘on the lst chor t mat be stressed that only major hid are permite in final cadence chords (Ex. 133 through C) ‘The cadena passing tone ilustated in Ex 13:38 i very rare in the continental style although it may be observed inthe English scl. On the other hand, the use of a cabs Figure in an inner voice is common Ba, 4198 Cent Contato ow ce Tee Famar Si ‘Two instances ofthe 76 leading tone cadence type ate shown in Ex. 1344 AandB the final chord wil bea complete rad. Note the omnipresent sx to octave resolution. Inthe Phaygian mode, «kind of final "oot post tion” cadence can sometimes be encountered (Ex. L-4C) isnt typi of the other modes, ‘The expansion ofthe plagal cadence wil result in both tas being ‘complete (Ex 1384 and B, Soveral instances of elaborated plagl formulas are ilustrated in Bx 13.5 C trough D- panne 05 136 unre he met common insane of sspensiontech- rigue in four vie wing. Ina tae snpenson, ene of The torcesisfeguenty double at the oave ee Ex. 19-68 trough D. Hom ‘ser the exten te sferee pc cates ccaming above ce bas Sthe pint suspension may xcasonaly bene, partly wih the Sis (Be 1348), The lat thee insanes ofthe procedure (Ex TF Shoah ga he ng crn any hr prep tations found ler in the Baroque period, x. 1-4 = fot poston, Ee SSG tied ivenion tnd Ee DSA fit vero 4 6 ‘There i no pereptibe ference inthe general handling of Black nots forfour and thre vices, The percentage of lack-nate usage is one erably less than in two- and even three-part texture ‘Asa generl rule, when the numberof pats inresses, the harmonic shyt tends t slow down corespondingly. One may tentatively state thatthe norm fr fouroice writings chord change by the sembneve Ex ‘esive harmoni movement by the minim shouldbe avoided, a8 the ve allefet is somewhat “rushed” and the possi of minim passing tones, is eliminated, (Once all ofthe voices have entered following a ntl point of mit on stop ene a manned rng peda ine “one of the opening voices may have already dropped out by the ime the lant part enters Vokes ae continual resting and reentring during the course ofthe movement. One might even state as a general norm that the usual number of voles at given pont in the interior oa plce i that ‘of three-part writing. The texture fords to “thicken” near structural ce on * > oo (oun) [As may be surmised from the above discussion, the overall harmonic characteristics of this syle are somewhat dificalt to describe It is cer= tainly not Functional i the common practice sense, although one wil often find what amounts to "IV-V-I" progression occurring at many cadence points, Alterations between relative major and mince “keys” (what Rue terme bc tat) are common. The overall onl feling sone of txtreme retleseness, with only the cadences serving to stabilize the move- ‘ment momentary. The student should try to become familie with as many examples from the iteratre as possible in order to gain some innate ‘senae ofthe harmonic style before attempting to simulate it.The short re Sponse in Ex. 11 is incuded as atypia instance of 2 homorhythmic piece of this pod, Note the contrary and parallel octaves in measures 9 find 1617, the Inter occurs afer a cadence. Parallels between phrases, however, re not unusual since the ofending intervals belong to different and unconnected elements. ASSIGNMENT iit short composition in familar style for four voices. Choose a section fof text from the lora or Credo ofthe Ordinary (se appendix 2). You may {se a condensed score on ony two saves if you wish Include welldefined "fora hr dca of he harm mpc ins er Soe Ande gh “yo ment Mt elnino ha rf cb ape ‘ison yu Note MA Harare Unerty Pes pA.$46 Cane Cnt Foe Te: Fi Soe cadences with typical suspension formulas a the end ofeach phrase, Beat In mind that these are usualy followed bya rest before the next phrase nt Cason aie Tee amannfe As cede dd pe iy tem) te ed re4 Imitation and Reentry in Four-Voice Texture; Cantus Firmus Technique In addition to discussing various imitative and reentry procedures typical of four-voice texture, a consideration ofthe second method of basing poly. ‘Phonic pieces on preesstent material tha of cams firmus technique, will be undertaken, IMITATION AND REENTRY TN FOUR-VOICE TEXTURE In general, those observations made in chapter 10 with respect to points of limitation snd subsequent reentry in thee-vaice counterpoint, old tre for fourpart wating as well Fithrelaonships common to each particular mode continue as the basic organizing feature. While asymmetrical en: trance in the inal point of imitation may sill be observed, the even nu ber of voices now avaiable allows the posiblity of two other frequent techniques, oth of which involve a paring of adjacent voice pats: 90 Ws two. In the fis type of pied iain the second voice enters relatively ‘quickly at the usual fourth o ith, The two intl parts then continue for Sometime in wvo-oice counterpoint, often cateneing immediately prior 10 the entrance ofthe remaining parts The other voices then enter in exactly the same relationship a5 the fist paz, completing the point of imation. Ec H+ ilustrates this procedure withthe respective pais of voices brack- Anton nd een Foi Teun Ca es Tage 147 ‘tas io (Cae Seals as Benge de se _ Dena te Por of hs Com ted note that the tenor drops out momentary after measure Sto prepare the dovealing cadence with a new theme atthe end of the excerpt." 'A farther instance fs shown in Ex. 142. This passage reveals de Monte at is most famboyant abserve the use of only one minim distance between paired voices vote ao ve “This pairing technique may be noted also in fouroice canonic ing, producing adobl cao (sin 2) Between the pairs of voices. Although itll seem inally tht al ofthe parts ae involved with the imitation of the sume subject, eventual one ofthe pais wil break aay and proceed fm its own cour, Study the paseage shown in Ex. 14-3 i this regard, "Foam aga! ample fh ee eB 7Pai de Mote: Chie Me Sit mie) i: Ke im en) wy “naton nReeny in Fou Tene Caras FamusTechnave 48 [Another common device isthe employment of what amounts f0 8 doublosujec. Here the inal so voles are not ated thematically, bat {orm a miniature segment of ree counterpoint, The following double en- {oy relierating the pitch classes of the orginal pair, wil then occur afer ‘Brera measure, as shown in Ex. 14. In both of these techniques the pairing usualy takes place between canfurius and lentes "hs discussed previously in chapter 10, subsequent reentis wil, 2 rule, continue to employ the same pitch clases ofthe fith-elation found Inthe opening pont of imitation. Ins customary to rest voice fora ast Several semubreves before Bringing it back in with reentry. Some latitude nay be obverved from a tonal and shythmc standpoint in comparing the ‘anious reenesf the orginal subject, although the same text setng is ‘sally preserved anne 104 Paes yi i Landen)150 sana yee Toit: Cann Fm Tce ASSIGNMENT Wirite an opening point of imitation in four-voice texture using the text supplied below. You may wish o employ one ofthe palred procedures dis fussed above: Continue the counterpoint fo atleast si measures past the last entance, Include a minimum af one reentry. ee ord have mer) ‘CANTUS FIRMUS TECHNIQUE ne gc en ee ge mamaecre emeeetoeree Siggy heeea gametermnee railed dtcenectimr et a ie yy tg Seep tage escent Sojee eae eee Sipe craeoine ec aenctra te Soiree ies eden EEhiret cueaimicwiven re Topload en roe tighter tacos Surenencamiees manga Erecere cua i mcrae Eicon cateatimerett eae Scie cma rie cena at Biniiwa eeemetinniate eae ym rriehiegrite pet ent Sty pee ed neetonce ‘erp gue n reer longs The dustons do ot have ee SELeaiuptaanee sea ea “oe ero nr nn tt ib tai rem rt os agen eae ae a eae ih ie {pope te eed le een he ince 9 REanei nese "es here rw Ars st ern fore ee Cat is eign 38 within the context ofthe longer notes. Sometimes the cant i repeated in Tinovement, wth succesively shorter values. As a consequence af the ‘ofthe eafus note, sis offen dificl, not impossible, to identity the tune by simply listening to the work: this may account fr the fat that composers were able to “hide” Blatanly secular melodies within the poly fabric ofthe Mass. Although the sgt may open a moverent It “isally makes its entry ater the other voices have been established. Ifthe ants consist of fay short phrases, rests wil nocmally appear between. the separate phase, In most cases, the orginal txt associated with the ‘mus tune i subsututed withthe words ofthe Mass By the Late Renaissance, the inal point of imitation opening movement andthe succeeding point of imitation are samelimes based on thematic elements ofthe cats, resulting ina kindof zoriitatontech- igue’ If this technique is employed, one must resort othe procedure of paraphrasing discussed in chapter 11 However, its possible to find many {stances where the counterpoint has tle oe no relation to the soggett. A typical ample ofthe former “paraphrase” approach i illustrated in Ex 1, The ton earis the fivenote motive, which occurs in longs. Note the cadence just prot to its entrance. (continues on flowing 6) San xan ample hs tin mayb oun Send an Sot, Em vg Gam Cups"182 tatan acer Fo voice Tent; Cant Fs Tete yr Intion ander i Fourie Fn Ca ms Tciioe 189 * . - . In Ex. 14-6 the omntus is the familiar hexachord mutated to G (durum). : ee petra fae at reese ey ek ie Sassen = = eeeneeneerne é ats = FE = eae = be = Z z =! A _ Sp is SEES = mms - eum oanng )eAMMLE HS ott) ‘Two additional problems warrant our atenton. One isthe mate of chord choice a8 related tothe harmonic rhythm. Obviously, the long notes ‘ofthe cous limit the number of possible conzonantsoncrtes in the har- ‘mony. The problem lies in knowing how to vary the harmony sufficiently during each diferent cots note dation, One mst resort chord con nections invelving common-tone relations, such as fith-o thied-elatons, the “common tone” in each case being the cant note If the sgget pith 15, the harmonies could be G major, C major, oe E minor. Root move rent by second, therefore, becomes posible only between changes ofthe nus pitches, or while the canis is “resting” between Phases. ‘The other problem concerns the subsequent subject rentries follow ing the opening point of imitation, As the conus will doubtless be sound. ing throughout most of ech phrase, the rentres must be counterpoint ‘agains is sustained tones. Ths often requires some degre of ingen. Refer back to Ex. 14-528 regards both ofthese situations. Iincomposingacamus firmus movement tis probably useful to make a preliminary Sketch st. This should contain the cu, laid ox in consecw> five phrases with appropriate essin between, te inital pont of imitation {pechaps based on the corfu in paraphrase styl), points of imitation atthe beginning of each new phase, and any examples of rentnes. Once this sketch has been completed, the missing voices may then be supplied. One such preliminary draft is given in Ex. 147. The cous employed here Consists ofthe fist two pluases of the mile Thanksgiving hymn, We Gather Together. yr = (cosines on folowing)PAMELE 147 los) [fe es ASSIGNMENT CChoose a tune for use asa antus, It may be any tonal melody that you Wish, although those with basi stepwise motion generally work out Det ter. I should consist of two short melodic phases, not more than about ‘eight notes per phrase. Although your tune need not be modal tell, con- sider the fst and last tones of each phrase as regards an appropriate ‘modal seting, Place iin the enor voice and proceed to write a rit cts firmus movement around it using the text below. Base your opening point ‘of imitation onthe cntus melody, employing paraphrase technique the ‘ther point of imitation for the second phrase may be constructed on the second phrase of your tune although it need not be. Work ina lest one reentry during each please, counterpointng i against the clus voice, It ‘ill probably be helpful to make a sketch fst, similar tothe one in EX te yr sacs ta, tay. be oth, of Hots) Set ts, Sets, 8 mi ma DE ae aly aly, Lent ‘Go5 Examples of Four-Voice Compositions for Analysis ‘The eight compositions ined in ths chapter range in complesity fom pieces that incorporate the abstruse caneric techniques found near the end Of the teenth centry (Ex. 15-6) to those which incorporate procedures of the Venetian school (Ex. 157) at the close ofthe century ‘The fis two examples in tis chapter ae secular pieces inthe vernsc- ular languages of German and French respectively. The melody of his bas- ically Romophonic setting. was later used for several chorale texts, Including Hese’s O Welch muss dich lsen, which was harmonized by Bich and Brahms. Composed about 1515, is tpical of the Flemish trad tion cated on by such figures a Lasus. Examine the piece fr doublings, spacing, and cadental formulas” "A tocar iil he ed appar Sa Novak Fs sgn nd Toa Or skin Ma SS Mee oan Dead Heh ue Mae Fort S O97 ample of Fow-vice Conponions fr Aaah 159 2. = Soa a+ cies on Kong PE)168 toatl ae Compson oA aS === gee es da]s L 1 yy emperor Companions er ras 368 Sr: euch eh as leh ase eh fae dae Rin mein Staten, Wiihacks 'Tunt yoo lew” Tam oing. on” ty Wa, in em-deLand dain Main Froud it mie ge noms men, Bo iegn Land My fyb fommefaken die ih nit wes Be: Bom men, wo Khim: lend bin BF dw nothow teres while Tin isery am) [RAMILE 1525 La: on or mon cone hao 157 “This well-known secular compositions an excellent example of fami- {ar style used in thie period. Study the work with regard to those character [Stes ofthis procedure discussed in chapter 13: spacing, inversion, dou- ‘lng, and harmonic root movement. Observe the close relationship ofthe text tothe musical setting ‘ton ur omon cor |Donor me [dow ce we on owe me corr | ton fur me] on * = ae ton joe [me core | tee [ms dew ee = =} z= ton Joe meee Banjara dow 5 ‘a een sas of ce may he fond Reber Cogn and Poe suc i Nee Sn Mae eg Cl Pee Te 17 Seba ene tone saponin ofa tase aa esp ay Pit godin Ad Der nil pe col A Ma Came ek Harr ey Pr pp162 amps of fowroice Compson or Anis ample of Fur voice Companions or asian 168 s = 2 ro = = me [wm ct | epee lg = ie = = toe ome few on [one cease ee ee ee = + = = orc ic Mon | dows prin-tema Ma ~ oe | tbe fom oa | beer 3 = en on enw te ame ie + ee ee eet eee oe mes = 7 -de = : ter ono we = 5 55 os =a enor me el Es = oe Toner me ues ~ Alero (ere eae === = sou-te bel «te Ma |mig-mar-di- se Bow jour mer de Mon |r eran Me a a = z websted te] br ee ee un [ome ve moe Me ees = totes eae [oem te |r mw te ow [omrscies i = x = — Mon pare roan Me c.se ni e e ee e comes wing a)164 crane of Fou ve Camps Anais er 152 (oni) fe pees roe | em te = = ‘eerie te] ee oe te = =_— fe = tater tn im do = z 23 ocur Bon jour ma dou ce vie, Bon, jour mono, ror, good Hay my weet” ie, good Say my es ce, He! Bon jour ma tut te bee Ma mig- nar dae, ‘lend, Ah! good ay my lovely onemy sweet one, ees, mon a. moar, Mon doux pin temps, ‘eigie” my "Dove, my wee Spangine, ce eur nou: vel, Mon dou pla ‘news my eet plese, ety Mon pas es reau, Magen fe our te eh de ay ek my ir tarledove! p au Ea apak : ge SES ell ang unl 5 XAMILE 153: Paletine cep om elf as Be 150. “The condensed style ofthis “short mast offers a model example of ‘the quas/-homorhythmic wrting often encountered in the long movements fof the Ordinary, the Gloria and Credo. The Gora is customary divided into two large sections, the fist beginning with Eri tera po (the opening ‘ofthe movement, Grav excelsis De, isintoned by the pres), the second ‘rth Qui tlie? Only the frst parts llustated here, Observe the new thematic ideas and changes of texture that occur with each successive phrase of text [ee == [ot SS = ewe wer (entre lowing 90) sen it ee ma gh eve sarYee Examples of Four Voice Compositions for Analysis . Examples af Four Voice Compositions for Analysis 467 ever 3 font \ a ses = a SSF #: = am weam Do | mise De ay | Rexcee le se De ae #tle= = elo * ales == — = 2S Sl amore [icewd | ah See) eo se es : fe =———= a = me mar te Gl | tk ce amu | te Petro | mk ee i = 7 S, 2 ero wank po ene aera aii = |e Le zl a oe lw te me leet = — — ‘Do mi mh we 3 looms a j ewes ial = ow [ermine “ |}= Lees = i itera px ho: neBus bo nae vos nati (na on eon pce va Tau da-must. Be: ne- disc must, Ad-o-1- mas ‘Wie prise you. We Bless you of od ‘We adore you, Goefeca mos te, Greta gh me 8 pope mag: am We gosty you." “Thanks” "we ge to you tar great (Botham tam. Do: mine De us, Rex ca lets ‘gory “your, Lond” Gog,” King sf sven, De: us Pa terome ni: po tens, Domine fe us nk ge God" the Father omipotert; Lard ‘Son the on begten Je: Ch, Dos mis ne Deu, As gras De, tk us Pe ‘Gad ao Jesus Chat, ‘nd Tab of God, Son ofthe Pater) aarp 0 Four-Vnice Compasivons fr Anais 109 anu 541 Paterna pig ete cl Beet om i a Home amd “Thee different instances of ctu fis treatment are quoted in the following examples, As mentioned in the diacusson ofthis technique, the {alk song Lome arm became a model conus inthe tsar Masse ofthe fitteenth and sisteenth centuries, in which composers attempted to dem- ‘onstrate their echnical prowess. The opening phase ofthe tune i quoted Shove the Benedict observe hove Palestina has shythmized the cats Jnsuch a way as fo preserve the basc ternary meter ofthe folksong. Al though te rst neighboring moive ofthe point of atation docs not late to the cantus, dhe ina five tones ofthe gu vent do show ther derivation. In additon tothe subsequent reentres, note the curious static passage it measures 19-20, withthe voice exchange in the inner parts ies SSS me ~ leew | ~ = = ) owe titers eps = (comic on flowing 5)yy Baamples of Four voice Gompastions for Anais 171 {An instrumental workin four-voice texture, this fvarelike moves ten denne te ual combine as fos figue within the framework ofa sti, thece-voice a5 ‘Only the opening secon quoted the canes aneponed a fifth igh in the nent part and then reappears at the eriginal pitch level. Study the harmonic aspects of this pice why do you think there is such a prepon- deranceof root movement by third? Gven only the music and its tle an yos ascertain the ongin of the cnt fms? (comic on owing 6)AME 155 (oma im rs ener ea 2 Ses £*- fteel Se: ¥ le > = = [AMME 154: Oso Then Namie 1550 Examples of Ix nonin instrumental pieces are very common among the Engish composers ofthe Late Renaissance. The term refers tothe st ting ofthe phrase in none Domi inthe Benedict of Taverner Mass Gloria tb Trintas, which employs ths section ofthe chant as a cans Fire, the plainsong is set again in the upper voice in discant style. Al though the opening subject isnot related fo the cnt, tis developed in- tensive during the course ofthe fest section, Why do you think thet adic motive is partculaely compatible here? [AMPLE 1575 Aad Cel: Ke fom he Mss res 15700 A Nghiy compressed movement, hs Kyte tpi fhe le style ote Venton school Noe the canzone Pt he st se fet ts numerous ents Campo ony sts evtions om the contopuntal pines presented hu a?1 tama mpi Ans yrExamples of Fou voice Compositions for Anahysts 4776 Aspects of Five- and Stix-Voice pe Texture; ~ ‘Triple Meter Examples of five: and even siwoic texture are quite common ithe s3- ‘ed palyphoay of the Late Renaissance. The treatment ofthis umber of ‘oices wil be discussed inthis chapter. The ws oftrple meter as it per tains to the rhythmic structure of the music in this period wil also be investigated BASIC FEATURES OF FIVE: AND SIX-VOICE WRITING Most fhe flloeng presentation wil ea pecially with ive woes. A cern pasraphwil cner he ates hrc of ave “The “addtional” voices are denoted mumerially by guintus and sexu. They ar sully ether ror nts parts n st vec we ing. ads ae Invorably compete, although dosbling procedres may ‘ay widely: Exesive unison doubling i svlded in ater of ecave dou bin producing the flex ponsble send. The doing of raning mesen {ti atl forbidden this lds tue for suspension desonance a wel hee ae ine nthe al argent fe prs Noe "gaps between consecutive upper voces are race. Although para ‘eed iterss ar ll avotded te ay ocsonaly note te use of eect avo Pe, Ner 178 ‘tts by contary motion in sbvoie texture The restrictions regarding the Rfroach to echves and even unisons are more relaxed than in writing for adr voices, Study Ex. T6-1 in ration to the above observations. anne 16 on ee, gen yocrwecey ona th yewble ave but patie “The most frequent cadences the 43 authentic formula, probably be- cause the resulting ithelalion involves the fewest voicesding prob: tems, Notice the doubling in Ex. 162A and B; the later features a typical ‘ambiata figure. The consonant fourth Bp Ap Tempera 00) ge SNES” Bip ie In the first case, the meter signature is written (D. Thus, the meter ray Bought las Sore gong of2 C22 ain. the MLTR Sc ne Mesa Be saan ee fener mathe yn pcmen of coorec sn dsnaee Iovate soe pling of mgd ence Neen ee ee seat ene Remind de honceinbe es ste eke Sng of cores ‘in the second case, the meter signature is written as ©), thus part {afaerarneneenan err enteral OEE ea notte sung ter dsoanee eh he “Ntperion orapw ocr on anya recency ges ISPS Meehan ee Show temper a yb epic guy ty the present fede vue sl Bnd pss el ak Roc unrs a soeewht a se panne 169 enn Fe potion note) ree = = See esa: Hoan (Min Reem ce)In “fast tempo” meters the prevaling beat Is now the semibreve producing = perec division of the breve (Kd =o. =o). The note “alae, in ters of the handing of consonance and dissonance have beet “oubled in duration in thatthe semibreves are now equivalent to what ‘were previously minims, minims to semiminims, etc. The commonly en- ‘ourtered teste i hat of familar style, withthe result that there is very lit use of nonharmonic tones. Typical eamples may be found in settings tf the Hosanna and in polychoral compositions. However, composers may Sometimes resort to purely polyphonic procedures in this meter. Suspen ‘Sons (in semibreves)asualyoceue on the second beat: there is no ou ence of semibreve passing or neighboring tones; these must now be min- lms. The use of hema (hace breves spread over two measures) may be ston, particularly before cadences.” The homorhythmic excespt in Ex. 1611 i taken from the opening ofa polychoral work sas Yeisen spun sof le ee wes [ote = les ee om wee es In the Hosanna passage fom festures imitation that ests in 2 a canonic Mass (Ex 16-12), the texte double canon between causal and {Gaor-sns. Analyze the nonharmoni functions ofthe minim, observing the hemi near the end. BANE 1632 ie Hons i of fon) =e = — ~ ge —— — —- ‘Sep Mie 8 Colin, “Te Reman of Sagar nd Hema oe 1h cong i a har Netapa y Wen,Pp 319 Avec tm and See Tn: Tle Mer “The prevalent use of long, whitenote durations may fad one othe conclusion that this music progresses ta very slow pace, In stuality, the Ssemibreve is roughly equivalent fo the mim of lla rere and may even be faken at faster rate. The effec is sometimes almost “scherzke”n ha ture and justifies the use of the tern “fast tempo” “Another situation involves dhe change of meter from duple to tiple «turing the course ofa single movement This technique sometimes oscars ear the end of some motets ofthe period. In eases ofthis nature se exaly scknowledged that a propria lationship ext between theme: ters in thatthe minim does a remain constant. The proportions Us ally 3:1 3:2 In Ex. 1613, the semibreve in the triple meter is now three ‘umes faster than before. The proportional relations are shown atthe op of ‘the example, with their equivalents in modern notation, tommy eee ow xannue 1644 os fonts) 2 =o of- cer Pein Dit meena tt) —s ey Ons om, a» |e » a = = Ex. 1614 illustrates 23:2 relationship. Note that meter change occurs ln the middie ofa measure. Both examples would seem orepreset kind ‘of Renaissance “metic modulation" ye Any practical writing asgnments sing triple meter il be post poned untae the dactston of polchara echaiqus in chapter 817 The Motet; Parody Technique This ape wil present ihe strate apc oe mote othe senth century and the process of parody technique, the last remaining procedure in which Mass movements are based on preesstnt materia ‘THE MOTEr The molt id epee on of he ot oon ger of wre composition in the Late Renisance. Although any short sacred or sc tural wing oul serve a suitable text mono the iterary sours or the motet are found in the Proper ofthe Mas, hich change Iemn Sun day to Sunday according othe tug ye in conrst the Ordinary, ‘which emained constant, the Proper presented vactepertory of possible texts Indeed the challenge of sting new ts may have appealed ter tain composers, who found the Otinny foo conning Tes ouside the scope of hs txt ogo nto the long history ofthe $s in forms ofthe partwiting. In familiar style, the sonoies ae normally in rot position, withthe pair of tasus parts exchanging notes through conzary motion at chord hangs. The chordal inegety ofeach individual choirs usually preserved Sha complete triads are used whenever possible, with normal spacing of the chordal members. Often, one choir may be writen in basically lose Structure, while the other in open stractue. Excesive doublings atthe Limon Between cheits are avoided the sound is usualy kept as fll as pos-sible. In this regard is intersting to quote Zvlino: "Because the choirs Sr located t seme distance from one anther, the composer must se to fmong its pars, and that each has a sesucent four-part harmony.” Consult Ex 194 ASSIGNMENTS Write the following cadences in an eight-olce double chole format. You say use a condensed score (two staves) fr each choi. 1 Authentic cadence (ih 43 suspension) in the Dorian mde 2 Plgl cadence Inthe Moylan moe (0 sepersion) 5 Just for fan, a Pegi cadence in ot postion (What ae dhe problems) Afterwards, rita short pasagein familar style of about four meas ‘ures, llusrating seme ofthe various techigues for avoiding parallel per {ect interval, Alter carefully studying the excerpts of elght-yoice wring in chapter 29, write brief polychoral piece in eight parts using a condensed sore ‘The meter should be 31, the fs tripe meter discussed in chapter 16. The text may be Latin or English, a6 you dese: » hymn txt will ote work ‘very wel. Is usualy beter ifthe text isin a stict poetic mete o that the lines o stanzas ae of equal length. An amc meter (shor long will work “Gera ah, ean rn Fat 388, pe, by Cy A Mac and Cause fat Yon WR Cay He pA Litevoee Teas Mhctols 26) best inthe tiple rhythm. Begin the fist unaccented sylable with a doted ‘reve inal pars at the opening. Strctre the piece according tothe model “dogeam in Fig. 19-1, although your werk wil be considerably shorter ix ‘duration. Begin with the typical antiphonal answering between yeparate ‘choirs, gradualy incorporate some cadenial overiap, and eventually con- dude with at last sx to eight measures of eight voice texture. Keep all ‘onharmonie activity ta minimum, ass customary in fama style, with ‘only ocasional minim passing and neighboring tones and the usual 3 ‘Sapension at cadences20 } Examples of Gight-Voice GonpitanteeAhes ‘The xamples cited inthis chapter represent three varying ways of testing leigh-voice texture [AMPAE 20:15 Veta: Ap sf Mis Sle eg cou 1578, “The concluding movement ofthis interesting Mass i casi the form ‘ofa strict canon beeen the to four voie choirs (Bin 4). The continual Antiphonal imitation and cadental overlap. show the influence of polychora technique. Only the last even bars shove consistent eightvoice ‘writing. Note the majoe cadenial points in terms ofthe mode. The litle Tec "talpiece” 8 curious,amp Wee Compoiton i Anas 284 ‘Te fina section of this work for double choles an excellent example of polychoralvting ia triple meter. The prevailing style is homorhythmic ‘Again, note the typical dovetaling of eadental pnts, Analyze ths piece from the following standpoints: (I) the root movement between chords in the eight voice texture (2) the use of nonharmonic tones a fast triple me ter, and 3) any instances of rests or contrary perfect intervals ak means of voiding parallels. Interestingly enough, there are three examples of paral Tels which Palestrina seems to have overlooked. Can you loeate them?=24 ule a hc Canposton te ae UME 202 omar Lace gh tus est no bis sue am de- tem ‘tie benowed "onus! His day). [EXAMPLE 203: ey tate ihe wa omhs APL ans Intedton What compositional device is employed in this ingenious example? Does the composer manage to avoid allnstances of parallel perfect intervals? amps foe Compention oAmis 52) Additional harmonic Devices in the Late Sixteenth Century Upto this point, the musica traits discussed have been typical ofthe 5 cred vocal writing of the Late Renaissance However near the close ofthe ‘Snteenth century, a numberof harmonic idioms appear which requite ex mination. While most a these tend to occurin secular compositions, cm posers on occasion tized them in thelr sacred works. They are most fe ‘quently encountered in the Italian madegal, the English schoo, and in those works associated withthe Venetian composers One may note the cccurrence of rather exotic musi fa in many ofthe examples, A tore ‘thorough presentation of this tendency wil be reserved for chapter 2 ‘Other Cadence Formulas Several additional deviees may be appended tothe tradional ce dence formulas In Fx. 2-1A note the use ofthe semiinim escape rote in ‘conjunction witha consonant fourth, as wellas the final passing seventh in the fener. These walls were found with particular frequency in he music of ‘the English school. Note the curious consonant fourth in Tx. 21-18, creating 2 dissonance with the alts It becomes increasingly common in the music of Venetian and Katian madrigals yd Come ail Mpa) amen: Sel pet i i Augmented Tid Although seldom encountered in sacred works, the augmented trad, always in , may be observed in some secilrpices Is most typical vse is ‘at cadentil point in conjunction witha consonant fourth, employing an in place ofthe diatonic Ey (Ex. 21-28), Inthe second illustration ioc ‘cars athe result ofthe interaction ofthe DF and Gk (Ex. 21-28) As the ‘excerpts show, this sony is often employed as "olor chor” to high- light a text dealing with cructy, pain, or death, Ex. 21-2C is very curious, with is clash between the E and F, observe the “escaped” upper G. [toa The Sve Soee Mai] Gol: Te ct OndeAugmented Sith; ‘Diminished Sevenths “The chord ofthe augmented sth ins its origin in this period. Itean ‘occur as the result ofa suspension (Ex. 21-34), a neighboring tone (Ex 21:38 or even achromatic passing lane (Ex. 2-3C). Note the enharmonic fpeling and use of the diminished thrd in the Gesualdo excerpts (Ex BCand D), Ex 2-MEilusrates a diminished seventh chord, ongnating {suspension with change of bose, Both sonorities are extremely ar Cay: ante ea ft deeb Wye My see (er ewr sh torta) Gevalia Jnvolved. In Bx. 21-4B the respective By and Bh are both alsies, The ‘ros relation in Ex. 204 le even more striking. Ol specal interest are ‘those instances where the cross relation takes place simultaneously in the ‘same sononity! Although this typically identified withthe English schoo, ‘one occasionally neourters iin other styles In almost al cases the logic ‘ofthe voiceleating preva; a neighboring tone is usually involved (eee Ex. 2140 through Ft should be pointed out thatthe majonty of coe relations involve the chromatic alteration of ether the Sd or 7h sae de sree of the mode a Pei: Vn Sect Spm) a St a tharnatatotn) 5 cxgaqa Toh ross Relations Cros relations sometimes appear between the final cadence chord of “an terior pivase and the opening ofthe nent section. The major tid of the cadence wil be followed by the same chord with a change of mode (ot ‘unor thd) consult Ex. 214A. Cross relations may also occur in close proximity within the pase asthe result of the voiceeading ofthe pats “or aon dea nied n he wrk doe Edn owes Te Eph Map Compo a er Une Pao a ap. 1 “One amides nately bv Aer aPedal Point, Although more common in early ongan work, the device of « pel points sometimes noted in certain secular vocal works a well Ex. 21-5) Here the term imps the existence of unexplained dissonance inthe up per voles above the pedal. sue 215 Gene pr ai ‘hanes Wee: 0 Gin ote Me dei —————— + =a 4 i a begat da. ASSIGNMENT Carefly analyze the two folowing excerpts rom Thomas Weelkes' mad- ‘gal Of Care, Thou Wilt Despatch Me” and note the frequent use of the ‘onsonant-fourth devie ocarring in various gusts, a8 well s other ha. ‘monic points of interest. These passages are quoted in Ex. 21-6 and 217, igen dis quia Pe, Norn At Vol New Yor: Nos, vs ppfe es: = ume | foe [vero] ower = ar Pacen = coy aren fer oe] oon on [ow SSS = teocvsinee | Bont aa ee ———- veer [owen i fore teow Extended Musica Ficta and Chromaticism ‘Thelater half ofthe sateen century witnessed the emergence of 0 fe tors that would eventually contribute to the endermining of the modal sjs- tem, The advent of funetioal tonality, with ts correated hierarchy of or dered modulatory relations finally culminating in the major and minor modes, begins to appear fst ina germinal sense inthe dance music ofthe {ite Renaissance, It features a heavy eellane upon sttongly periodic meter and phrasing with eguley curing cadental panctation, set ina fey hhomophonic texture. On the other hand, it lost dametically apposite trend, the use of extended musica fcn and chromatic voiceleading, was slso explored by composers ofthe period’ Ths attr style gradually be- fins to appear ina vaiety of media and forms, eventually reaching its mest extravagant expressions in madrigals and certain keyboard pieces nea the tend ofthe century. Although it made but slow inroads in the more con- Serutive stcred style, th mannersm Is nevertheless an important ‘enough trend to include in our stay, as it never really abandoned the ba- “contrapuntal idiom. As the topics ofan extended system of accidental ism and linear chomaticiam ofen go hand in hand, we wil discuss only the former, at preset. “The use of muss fits has, to this point, been limited toa well-defined soni at i Tata a ase Beaty a caonumber of specie deployments (in hi egad,seview the pening of “hapter 9) the employment of stds the purpose oni harmon purposes was what Br open to nee coaln composers of tha period, By extending the range of posse mss ft tbe sc cor dal vocbelary as enlarged. Such notes 28 DI, A, snd Ef, and onthe fide A tl erp nh eng eer oso tis, thus expanding the thoracic of ere OA) BB FCG DAE B HC Gt OLA Consonant triads such as B, Ff, CF AB, and DF major, along with i, Df, F and Bb minor, were now possible, ax well as ther augmented and diminished triads inthe usual fst inversion * The sudden shifting from one end ofthe ift-specrum tothe other by various third-relations of linear chromatic produced violent harmonic contrasts not available heretofore. For instance, the B major and CH minor sonontes in the Lassus passage (Ex. 22-1A) create a striking relation tothe disomic open ing ote the appropriate text setting (Chramatiz).” The same to chords are reworked in the beginning of Cesualdo's madrgal (Ex. 22-1, re. sulin in a Wagnerlke progression by third-elaons. The additional musica fete sso allow the further exploration of diferent and distinctive cadence formulas. Observe in Ex. 221C how the expected movement of the 76 suspension over Ff doesnot resale toan E tad but instead to an A‘ with the final cadence punctuation on a CE major trad! Macque’s ‘organ fantasy (Ex. 22-1D) does not incorporate any extended accidentals, but the frequent use of musa fs fr colanstc purposes crates novel and staring harmonic progressions, another byproduct ofthe technique Lae apie tem seco ane en enraot gehen atest cease kemerees SURE Re ere mtaree ‘ee orawegeere gay tomer mere ve SERCH Sot te es o en: More at Mi) Oo eee nan amt a “The results of chromatic voice eding abo served to envih the har- monic palette of the composer in this penod. The Lisatian thid-elatons inthe Gabriel passage (Ex. 22) are emphasized through the bold and Sark textural treatment. 6a een et)Linear chromaticsm may appearin many guiesin the hierarchy of ‘componton; as an balated surace event, as aa integral pat ofa thematic subject ora the undedying constructive fare in an enti movement. The hole of whether to employ a sharp ae Matin the chromatic ine isnt stb trary but dependent upon the intended harmonic background. Thus, 3 ‘Somposer wil use D-D4E when he wishes a B major chord, or D-ES- By {when he employs 8 C minor tind, Smiar situations ae ustrated in Es 223, As there excerpls demonstrate, there is no abiding rule for using sharps in an ascending line or Mats fora descending line. Although the basic concept of fithrelton i silin effect in point of {imitation two additonal features of chromatic subjects may be noted. In fonder to create 8 more stable sense of tonality, many of the themes are tamed by a movemen from "tonic to dominant or the reverse. The use of tonal answers involving these two tones [snot infequent; in regard these points concult Ex 224 ote) tio ae the opening subjects chromatic in nature, one will often encounter bona fide "countersubject” which ss complete isto, thereby bal ‘ng the more ambiguous tonal sense ofthe frst theme. The resulting ba ‘monic intervals usually feature sequences of thieds and sth, or thel Te verse. This accompanying counterposnt will equeniy reappear with Subsequent enies of the sujet, usualy double counterpoint athe oc fave, For examples ofthis procedure consult Ex. 224 and 2210. The num ber of theoreti! harmon situations arising ftom chromate voceeading iS enormous. In actual practice the prevaling resultant progressions are somesehat more restricted. A few ofthe typical Kom encountered are ‘ted below, pertaining te both fling and Hing chromate motion. Iwill be note in most cass that the altered chromatic note usvaly falls on & weak beat or 4) In instances of descending chromatic motion Ex. 225A shows, pet: haps, the most commonly encountered situation; here the fated tones produce a series of falling stepwise fustinversion triads which change ‘ode on the weak beat. Note the possiblity ofa 7-6 suspension in Es. 2258, The next fo illustrations festure root movement by thie, with the Second example again employing a suspension (Ex. 225C and D). Es 22SE shows an instance of dob chromatic infection (ene) on — ‘The opening measures of Monteverdi's Crus (Ex. 2-6 are based ‘oma subject spanning a tetachord by descending chromatic mation. This sevice later became a wellknovn ciché, used in the baroque period to picture grief or pain. Indeed, Bach returned to this same idiom in is se fing ofthe Crucxus from his B minor Mass. Not the diatonic "counter subject” on the words sub Ponto Plt. The scoring for men’s voces alone ives an appropriately dark quality to the pice nrising chromatic motion the ocurrence of fith-relatons i very fre- «quent, where the mode ofa minor tad i razed successively (Ex. 227A), ‘Two instances of third-relation appear in Fx. 22-7B and C. Again the poss billy of dauble inflection can be expited (Ex. 22.70 and £}Ex. 228 cites the beginning of de Rore's Cal somum eens, the se ting of Latin ode. The subject i almost completly chromatic in ascend- Jing motion; note the entrance on the fone B,ordinanly avoid as an initial rote, Although thi piece was vitten comparatively early in the century, it {chieved widespread fame and apparently exerted an ifluence on later ‘composers. Like the Monteverdi piece itis scored for men’s voices alone, inthis case four basses™ Sweelink's Fantasy 1, (probably writen between 3590-160) is based | ‘ona single descending chromatic tetachord which is treated in extensive Iniation siete, agmentation, and diminution. The chart in Fig. 2-1 ia- “Toran automatic work rant prio se Kant Sei“ Progeny the Mo of Gros’ An ayes of © Y= Cm Tay Ge 13 Orta eefeiont— Yimainatsun Ponda | oa denuim | Sienootin J (een.30) | witeocomnernits | ent Gwtt) | oamansa Gaeta nett enw t53 | (re 2298) (ee 2e34) mee 3850) 0 ‘wens 148) Ean Dou | Fool miuion att om BA 322-9) awed | (Be 2298 flowed by comb onment ors (ee 22090) | (Es. 224F) {me 1-94) fm 9:18) ‘ ‘Sin imision ith af | gue fab (AD) (ex 2196} tsmerd bya | enn 1) 4 tudes it 2231 oan 19.19) lesion tattoot seh dara | Attia renteot bd (wen 19:17) | pce a6 B29 | trai pth ees ec et) on sh) a soon | Sets tah on 43,6 | Cnsnsetion nr es A (mento | (be 2-8) sed nS Dib 29%) (eu 17L-185) (men 164197) . grams the basic structure ofthe composition, noting the pitch classes at Vrhich imitation or reentry occurs, as well as ils major divisions and ‘dential points, References are mace in the igre tothe musi excerpts in Ex, 225, in which the various countersubjecs Sweclinck employs against his original subject are bracketed and numbered. In extended ‘works of ths type ib inerestng to nate that composers balanced exten: "ve chromatic wections with passages of completely diatonic nature for Instance, see Ex. 2280, F, and HD), The excerpts of Ex. 229 represent a vie ‘sal lexicon of the varied approaches to treating 2 descending chromatic subject” he on Jon ar Sent Cpr Ci Va sa pycanr Ua ta oe a yp leASSIGNMENT Wire short imitative monothematie pce for organ of from twenty to thirty measures in duration, based ona fly or partly chromatic subject. Te shouldbe scored for only thre vices, Use two staves and keep the up per two pats fay cose together to acitate performance. A model ope Ing point of imitation i given in Ex 22-10. Incorporate several reentres of the Subject, usually onthe inal Aith-elation pitch clases. There should beat least one internal cadental punctuation. Ty to workin an example of sho near the end ofthe piece. Several such instances ae shown in Ex ma ‘This chapter on chromatic style concludes our survey of contrapuntal practice in the Late Renaissance. As possible further areas af research one right investigate the lteratue of polyphonic chansons and ther eventval incorporation inthe instrumental canzonas near the end ofthe century, as wwellas other instrumental sources, such ae the rica, antsy, variation, Bnd the English in nomine settings panne 221011 rn cpl ching Co os oom ee eed crea canter ene pel ape ey ee Sia ta can cg mae at eine cpt Athi ete eae detcenh oem ad taceer et pedagogical approach was eminently logical; beginning with two-part writ- ea eracceer neat gonna ee Skorgemeemneca icy women ge Sere avi penn entrar gary Arne tierce SESS Supls ene ete Sorgeae sey oe on eg ate Serbs baseman ees Boe ‘3. Third Species: 4-4 against © 4 Fourth Species: syncopated against & Sher oem a a _Sagneainrensctoee. Speen Cumepont 29 “The student then proceeded to write fee counterpuint in both voces, and followed that with exercises employing imitation and double counter point, This same specs fechnigue was then subsequenly applied to fee: and fourvoice texture, "The speies method is a valuable discipline inthe study of countr= ‘point, shat tallow fora systematic approach to creating a melodie ine, nd the treatment of consonance and disonance. It was these Very qual ties that led later theorists to seize upon the species technique as logical tool in presenting general contrapuntal principles, a oppose to a more lyst approach to the polyphony of the Late Renaissance. tn particular, the specie’ close afilation with ayer analysis, in which compositions are reduced toa two-voie substructure of voice-leading, appealed to Schenker “and his decples. In adition to Schenkers own Kieran (vel. Io Neue ‘usalche Theorie wed Ptasin 190635) there aze more recent texts this same vein such a5 the Salzr-Schachter Counterpoint in Compestn (0969) and Westergaard’s Am Itadnction fo Tonal They (1975). The vse of species counterpoint i this manner, however, did not necessarily core- Spond to sstenth century stylistic practice, Indeed, there may be several drawbacks to the employment ofa stct species approach in the simulation of the music of ths period. Idiomatic devices, such a= prtamont, cambuts, accented passing tones, et, are Somevhat difficult to present within the context of third (quarter-note) species alone, and must wait unt ith species (or better sil enti twowoice counterpoint) is inteoduced. The *hythan vit Imicrorhythm) ofthe Renaissance melody with ts relance spon the text folten neglected. The tine needed for the systematic presentation of the Species matenal may preclude the study of falls, more common textures lor instance, five-voice polyphony) of the period, as well as certain ‘compositional procedures, such as paraphrase or parody techique. The most succesfal ext which orients the species approach tothe practice of Palestina and his contemporaries is eppesen’s Countereint (1999); se the annotated bxbiography atthe end of this manual ‘The examples of the various species below ate taken from two sources, the Morar-Atood studies and theoretical treatises of the ate ‘Sxteeth and early seventeenth centuries, The second section of the note book Thomas Attwood compled while studying composition with Mozart fe devoted toa study of counterpoint in strict species approuc.* In some instances Mozatt merely provides excerpts from Gradus with minor ‘anges (Fans original counterpoint given with notes in parentheses [All use the same Doran cantus which wes onal by Fux Teis not surprising tht many ofthe counterpoint treatises of the Late "thie whan eg tase by Jb Rohan ge Tey "The Morand ir ned Sere XD th Ne ug Sather Wee hae ue 18)200 Sects Campane Renaissance employ a conus frmus oe dsc approach, since this tsch- ‘que was guste prevalent m many of the Masses tthe fiteenth century ‘What is interesting s that some of them (particulary those of Dirt, Banchier, and Berardi anticipate F's pedagogies! method by inchding ‘examples that closely resemble the order of species set down in Gratus, Al ‘mest all of them begin witha kind of fist species note-aginet-note syle (Galle conapuntosomplie or purctcone pt). The cfu melodies re either Treely composed by the authors or perhaps taken from preexstent chants, although the sources are rarely quoted. Some of the freaties omit the intervening “species” and move directly to fre style Or Sith species (contrapunto dimmu), Any quasi-speces approsch i rarely maintained beyond two voices. “The restrictions in each species ae briefly summarized; chapter num bers refer to detailed information given eae in this mans Some com- ments pertaining to the examples have been included, 1 int Species 3) COniy consonant intervals ae alowed, Se the seston dealing wth cons farce i chapter 3 Mozart's quotton of Fax’ example shown in x. , contains one mio teation arte cadence. Zaccom's excerp (2) ee! ota > ri qu scm 8 te os “ stout (a) 1. Second Species (20) ‘Only consonance and ntonantptsng tne minins ae allowed against the ‘sn Sethe section dain wie pang tones in captor 3 Spe Count 281 “The Moran ence of Bx. 9 orginal: the leap the counterpoint vole Irth idence Sr somata Ber station oi Speses {Es employ ony consonant ileal. Thied Species 4) ‘he eninins n he oepining pat may npr cnn tervals oth tepmne shy pat wel ms psnng tenon the aes outs, poets, undead fgues (oe chlor 8 Morar’ fa Steapuin onpnal The won from Dea oranda 1 gre) showin Ex employsa few git ate as wa note the one {ince The same cota aod for eareriasatons of ie nd cond spaces im hi trate. In oth excrpn no islances of scented ping tones (sont on he bet may Be fund (comtone on flowing 7)