MatePL

+ another counterpoint counterpoint - 3.0.pdf

So far only cadences. CADENCES: Q7. Do I have to use only chords in root position or could there be inversions, too? Because I used only root positions I tried to have doubled root in every chord (due these rules from this site from above). BUT.. eg. in my Cmin and Cmaj cadences I had to double the fifth. Is that fault or just little breaking the rules? ;) BTW. sorry, I couldn't upload these files as usual cadences - 2.0.1.pdf - Cadences in Major cadences - 2.1.1.pdf - Cadences in Minor

Thx. I'm in minor cadences. What do you mean by 'inversion' in this case? Do you think about omitting a 3rd? Can I call it inversion(omitting the 3rd)? Edit: Ok, I just read about doubling http://www.choraleguide.com/vl-doubling.php and now I think it is clear So, in which cases can I omit 3rd?

COUNTERPOINT: Ok, I tried to fix all faults. I didn't know I should be careful about the intervals within one voice. Is that true? I thought I have only to care about intervals between two voices. So..to get sure: Q5. Within one voice you have to use melodic intervals and between voices(cantus firmus and counterpoint) you have to use harmonic intervals? Sorry.. ;) Q6. Are there some rules about resolving of concrete dissonances? For example resolving major 7th occurs only by oblique motion or contrasting motion(making p. fifth) and nothing else? Next I will prepare some first species in other than c major key, some 2nd species and hopfully try to go with some 3rd species, but today I don't afford. CADENCES: I tried some plagal cadence. counterpoint - 2.1.pdf cadences - 2.0.0.pdf cadences - 2.1.0.pdf

Ok, there are some things I don't understand, but I hope it will get clearer on some another example. So.. I changed this last cadence, now it seems to be fine. I prepared two another second species counterpoint to get more familiar with this counterpoint-level. In both cases the Cantus Firmus is not by me. What should I do next? Direction 3rd species counterpoint or something else? cadences - 1.1.3.pdf counterpoint - 2.0.pdf

COUNTERPOINT: I completely understand your example of preparing and resolving this dissonance, but... for instance: - measure 25-26 - diminished 5th (B, F) - has to be resolved exactly this way -> (C, E) - I do not see any relationship with this principle from your example ... Is that any rule that a tritone (with leading note) has to be resolved in way: leading note to scale degree one, and another note in contrary motion? - measure 28 - I do not see this rule, either ;/ Sorry for being obtrusive about these dissonances, but I think its important, even at the level of second species counterpoint. CADENCES: Question about these doubling rules. Are they so strict? I mean.. there is this rule about doubling the root of each chord (V - I progression). My Gmaj cadence has no double g in root chord. Is there something incorrect? And my last progression. Do you mean this progression in Bmin? I can't recognize parallel 4th there.

Ok, I improved these Counterpoint exercises. Then I actually wrote the cadences all new. COUNTERPOINT: - In measure 19 I didn't want to have this B, because now I have 3 identical minor thirds consisting of b and d CADENCES: Actually this exercise was about making Perfect Cadences, but I didn't realise that the chords V and I in Perfect Cadence should be in root position, am I right? It makes it more logical now. So.. I made these cadences one more time from the very beginning. Question 1. Could you explain to me once more, what are the rules about preparing and resolving dissonances? Q2. (from above) Q3. (from above) Q4. I'm not sure whether I understand how to build a chord in four part harmony. The position (root or inverted) depends only on bass note? Is the rest of notes-order unlimited(of no importance)? (excluding double 3rd) Q5. What do I have to do if I want to write a counterpoint to the same CF as the first one by matt.kaner, but in another key? Change key signature and put all notes in the same direction and interval as the root note? counterpoint - 1.2.pdf cadences - 1.0.2.pdf cadences - 1.1.2.pdf

Ok, I attach fixed counterpoint exercises and cadences. I marked the places where I did some changes. COUNTERPOINT: Q1. I have some problem about preparing and resolving of dissonances in 2nd species. I understand so much: to prepare a dissonance I need to use one note of that dissonance in the previous measure, but what about resolving? Q2. In that book by Schoenberg I read about 'compound dissonant leaps' (p. 6, $7 c) to e) ). Does it deal with first species, too? It's problem to understand, because the author explain it without using a second voice. Could you explain it to me using some example? Q3. Schoenberg: 'horn octaves and horn fifths' (p. 10, $8) - is this of importance on this level? There is some trouble about reading any examples in this book, because the author uses these different clefs and.. not so good ;) CADENCES: In major cadences I tried to eliminate double 3rds and parallel fifth. In minor cadences I eliminated one double 3rd. In both I tried to add oblique motion. counterpoint - 1.1.pdf cadences - 1.0.1.pdf cadences - 1.1.1.pdf

Thx for this. Actual I'm on the way to correct all previous excersises and now I'm reading this book by Schoenberg 'Preliminary Excersises in Counterpoint' and I will probably have many questions about this, because there still is some problem in understanding... For instance: page 9, $5 "The student will write his excersises for voices and he will write them in the old clefs". And then there is some larger speech about clefs and their importance. What does it mean? Should I write my counterpoint excersises in C clef? Is that of importance?

Hi, thanks for accepting my request ;) Sorry for all additional references in pdf's, but it helps me in doing this stuff. counterpoint - 1.pdf cadences - 1.0.pdf cadences - 1.1.pdf