Modal and tonal counterpoint pdf

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modal and tonal counterpoint pdf

Learning Counterpoint On Your Own - Art of Composing

We begin this semester's work with 5 exercises in writing modal counterpoint in two, three and four parts. The purpose of these exercises is NOT to become proficient in writing music in the style of the Renaissance. This is an admirable activity, but is a course all to itself, and frequently is offered at the graduate level. The purpose here is to learn to write counterpoint within the various modes as a way to develop the ability to hear and express yourself using multiple independent voices, without regard for the formal vertical harmony, expressed as a chord progression. Towards this end, it is not necessary to adhere to the strict style of Fux and his followers. We will be quite a bit looser, while still observing certain principles that are essentially grounded in acoustics as well as in aesthetics of the style. The following then are the principles that we will follow.
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Counterpoint #11 - from species counterpoint to Bach style

Modal and Tonal Counterpoint

Download pdf. For example borrowed after Delacort :. The time and pitch intervals often change in midphrase. The opening in particular tends toward these standard tonic-dominant relationships in Phrygian the E-A relationship is used.

What spacings between adjacent voices do you observe? The key word in this style is homogeneity. Its melodies are primarily conjunct, avoiding the large skips and triadic figures more proper to instrumental music. Analyze all harmonic intervals between each pair of voices in the following example and all subsequent examples in this chapter.

Your article is useful to me. All those notes marked in red have been altered. It becomes clear, but now in the context of four-voiced counterpoint rather than two-voiced, and the treatment of accented sylla? Text: Discuss text divisions and text setti.

Write out these examples neatly anf carefully so that they can be used as models in your writing. The only exception to this procedure is stretto imitation at one or three beats. All these are equally as important as the actual aural perception to understanding the music and how it works. We begin this semester's work with 5 exercises in writing modal counterpoint in two, three and four parts.

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Counterpoint # 7 - 5th species

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They may move in parallel or contrary motion. To learn more, view our Privacy Policy. Study a particular technical aspect, such as the suspension. The following cadential idioms typical of four-voice composition are to be analyzed in detail and used as models in your writing.

It is hoped that each class will include some singing and some listening. Add a voice in invertible counterpoint at the octave above and below the following lines. Seminal analytical methods such as those developed by Heinrich Schenker or Allen Forte do not necessarily illuminate the actual compositional process used by the composer when writing a piece. I feel your pain.

5 thoughts on “Harold Owen - Modal and Tonal Counterpoint: From Josquin to Stravinsky

  1. Harold Owen - Modal and Tonal Counterpoint: From Josquin to Stravinsky - Free Download PDF

  2. Example 90 66 The Craft of Modal Counterpoint Example 91 Tonql All three voices rarely move together for long in the same note values! They are ornamental in character, except in passages in a familiar style. New York: Schirmer? In writing in the old modes which in Impressionist music and in jazz are also the new modes.

  3. Owen, but the music of Palestrina and his contemporaries presents a model of clarity. Finally, up to the octave, Harold. It is certainly possible to base the study of counterpoint on other m. The English style makes an interesting contrast to that of Palestrina.👩‍👩‍👧

  4. What seem to be the typical idioms. How is the text set. Rests are calculated to allow each singer psf to breathe. Think line and interval, not chord function.👩‍🦰

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