Chapter 8Chapter 8

Voice leading in two voicesVoice leading in two voices

Voice leadingVoice leading

Term used to describe the linear Term used to describe the linear aspect of musical writing.aspect of musical writing.

Species counterpointSpecies counterpoint

An approach to vocal counterpoint An approach to vocal counterpoint through the addition of contrapuntal through the addition of contrapuntal voices to a given melody (cantus voices to a given melody (cantus firmus).firmus).

Species CounterpointSpecies Counterpoint

Used during the Renaissance Used during the Renaissance JJ Fux wrote book Gradus ad JJ Fux wrote book Gradus ad

Parnassum based on the music of Parnassum based on the music of PalestrinaPalestrina

Types of species Types of species counterpointcounterpoint

First species 1 to 1First species 1 to 1 Second species 2 to 1Second species 2 to 1 Third species 4 to 1Third species 4 to 1 Fourth species Ligature (using ties)Fourth species Ligature (using ties) Fifth species - florid (combination of Fifth species - florid (combination of

all other species)all other species)

Cantus firmusCantus firmus

Fixed melodyFixed melody One phrase in lengthOne phrase in length Terminated by a melodic cadenceTerminated by a melodic cadence Serves as basis for other Serves as basis for other

independent but related independent but related contrapuntal melodiescontrapuntal melodies

Modes Modes

DorianDorian PhrygianPhrygian LydianLydian MixolydianMixolydian

Later Aeolian and Ionian modes Later Aeolian and Ionian modes

Motion types between Motion types between voicesvoices

ParallelParallel ContraryContrary ObliqueOblique SimilarSimilar

Summary of principles of Summary of principles of first species counterpointfirst species counterpoint

Stepwise motion prevailsStepwise motion prevails A melody usually rises to a climax A melody usually rises to a climax

tone,then falls back in a descent.tone,then falls back in a descent. Avoid two successive skips unless they Avoid two successive skips unless they

outline a triadoutline a triad Avoid melodic skips of a 7th and all Avoid melodic skips of a 7th and all

diminished and augmented intervals.diminished and augmented intervals. Avoid melodic range of more than a Avoid melodic range of more than a

tenthtenth

Avoid repeated melodic figures or Avoid repeated melodic figures or sequencessequences

Avoid segments that outline a tritoneAvoid segments that outline a tritone Begin a counterpoint above the c.f. with 5 Begin a counterpoint above the c.f. with 5

th or octave. Below with a unison or 8th.th or octave. Below with a unison or 8th. Approach final by half step in one of the Approach final by half step in one of the

voices and whole step in other.voices and whole step in other. Keep a sharped note at least three Keep a sharped note at least three

measures away from its natural equivalent.measures away from its natural equivalent. Tie whole notes may be used no more than Tie whole notes may be used no more than

twice per exercise.twice per exercise.

Guidelines related to the Guidelines related to the relationships between relationships between

voicesvoices M3,m3,P5,m6,M10,and m10 are the M3,m3,P5,m6,M10,and m10 are the

only allowable vertical intervals only allowable vertical intervals except for the beginning and ending except for the beginning and ending of the exercise.of the exercise.

Parallel 8,5,and 1 are forbidden. Parallel 8,5,and 1 are forbidden. Restrict parallel 3rds and 6ths to no Restrict parallel 3rds and 6ths to no more than 3.more than 3.

Avoid hidden fifths or octaves except Avoid hidden fifths or octaves except for occasional horn fifths. for occasional horn fifths.

Hidden fifths/octaveHidden fifths/octave

A fifth or octave that is reached not in A fifth or octave that is reached not in parallel but in similar motion is referred parallel but in similar motion is referred to as a hidden (covered) fifth or octave. to as a hidden (covered) fifth or octave. This kind of voice-leading is usually This kind of voice-leading is usually admissible in four part writing except for admissible in four part writing except for certain extreme cases when large certain extreme cases when large intervals are involved in both voices.intervals are involved in both voices.

Horn fifths are common and entirely Horn fifths are common and entirely legitimate because they display the legitimate because they display the characteristic writing for natural horns.characteristic writing for natural horns.

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