Lesson with healey.cj

In this lesson, I'm aiming to primarily cover the areas of modulation, and counterpoint.

As a quick first lesson, I want you to write some first species (note against note) counterpoint to the cantus firmus provided here.

Just to go over those terms incase you're not used to them. First species counterpoint is writing a melody against another melody, using the same note values for the counterpoint as are used for the cantus firmus(C.F.)

The C.F. is the musical line used in counterpoint studies, against which you set your counterpoint. For first species, if the C.F. is in semibreves, then your counterpoint is in semibreves.

I will see how you do here, and then introduce modulation, and the later species.

I want you to take this phrase:

and compose a bass part for it.

Counterpoint is the art of writing melodic lines against one another, and very much keeping them as individual lines! That is, each must move logically, and like a melody line in it's own right. I don't mean each has to have a memorable tune, I mean each must move melodically and must not jump about to fill in the harmony. By using several parts of counterpoint, you do fill out the harmony, and therein is the art of counterpoint, but the focus is on logical linear motion, while trying to properly imply the harmony.

Bear this in mind for your short exercise. It's only a simple one so I can see where you stand.

Try to keep an individuality of each voice or part; try not to leap too much, although the bass part inevitably requires more of this; do not write any 4ths between the bass and soprano, and similarly, no unprepared dissonances. (the 4th between bass and upper part is classed as a dissonance in this type of writing.)

I will see how your exercise goes, and then see where we can move to from there.

If you have not understood anything, or I have not explained anything clearly enough, please post, and I will try to clarify.

I think i get it all :-)

To be honest i actually found it quite difficult (considering the task) to write a counter-part within those restrictions :-S lol

Anyway, this should do...

C.P Ex.1.MUS

C.P Ex.1.MID

Okay, there are quite a few mistakes in this.

I will comment later, and we're going to have to spend some time on first species. But that's ok, and is to be expected.

Okay :-)

Ok, because counterpoint is concerned with the individuality of lines/voices, you are not allowed to double at the octave, or fifth for successive notes.

Parallel octaves and fifths are entirely detrimental to individuality of voices. Even parallel thirds are not allowed more than about thrice in a row.

Very generally speaking, in counterpoint like this, contrary motion (that is to say, motion in which the voices move in opposite directions) is to be preferred over the other types.

So looking at your exercise, your first two measures must be rewritten. It is merely doubling. While I mention that counterpoint is perhaps primarily a linear matter, you must also take care to fill out the harmony. Balancing the linear and vertical (harmony) is what it's all about.

A good rule of thumb is that you should have the third of the chord present either in the counterpoint or in the CF, but this is a rule of thumb, and not set in stone.

You begin counterpoint on an octave, unison or 5th usually, and end similarly, but throughout the rest, you must try to avoid these very same intervals. Those intervals, by their very nature, cause stasis, and they are too stable to be used in the middle of a counterpoint exercise because of their stability - they don't want to move anywhere. In the same way, we do not write a perfect cadence in the middle of such an exercise - it is reserved for the end; it is too final to be included in the middle of an exercise.

The only note of your exercise which is not an octave or a fifth is the last, which brings me to another point.

You should end in the key in which you started.

Ok, with these clarifications, I would like you to try again. Bear in mind all these things I have told you.

For an additional exercise, I would like you to add a bass part to a descending E-flat major scale.

Take your time with these, please, and really think out all your options. Try to think in terms of line, and keep the harmony in mind.

With the descending scale, your bass part of necessity will jump around more than is maybe desirable, but that's ok.

The only note of your exercise which is not an octave or a fifth is the last

???

I'll give what you said ago

Thanks,

Chris :-)

oh shizza i've used the wrong bass cleff lol...

Okay,

I've changed the clef and changed a few choices so they better fit the criteria.

When you were talking about not having any intervals of a fourth between the parts was that direction specific? As in, you can't have any fourths as read from the bass upwards or just no fourths in general.

I realise if you invert the fourth you'll theoretically have a fifth which you don't want either but nevertheless...

Also, i pursume you can view the finale files?

Chris :-)

C.P Ex.1a.MUS

Here also is my attempt at the Eb Scale :-)

C.P Ex. Eb Scale.MUS

Right, 5ths are fine intervals to have, when you have more than two voices. 4ths between bass and any upper part are considered dissonant in counterpoint. Between any two upper parts, it is not. We are not looking to introduce dissonance in first species 2 part counterpoint - we will do that later.

Yes, I can see the finale files.

Your re-done exercise is much better. It jumps around rather a lot, but that can't really be helped very much.

Your Eb scale is fine as well.

I now want you to take your re-done exercise and raise the soprano line by an octave. I then want you to add a middle voice between the soprano and bass.

I've added the middle voice and also written (text) the triad chords that they make as it shows the lack of a well crafted chord-progression regardless of the fact that it fulfills the present criteria.

Thanks again, this is actually quite fun :-) lol

Chris :-)

C.P Ex.1b.MUS

Your label of A minor is wrong - that's an F in second inversion.

You have 4ths between bass and alto in several places.

The piece *does* lack a well-crafted progression. You have too many minor chords in a row, and you basically go about in a circle.

I would have made the second chord a C in first inversion (if using your bass). Double the E to avoid having a 4th between bass and alto. When writing for 3 voices, you can double or have octaves of notes, but rarely.

Anyway, you must decide for yourself how the progression goes, but you have too many weak chord progressions in a row.(not to mention parallel 4ths)

I'll get back to you.

Okay... How about this one. I have had to rewrite the bass to get somewhat of a progression. It does break the 'fourths' rule though.

Chris :-)

C.P Ex.1c.MUS

The "fourths rule" is there for a reason - you should not break it in this situation.

There are still a bunch of errors in this, so I'll give you some more first species 2 part exercises.

Okay, no worries :-)

Thanks,

Chris :-)

Yeah... so about those first species examples?

Ok, let me see if I can get you some.

The following link links to a picture file of two canti firmi.

I want you to write first-species counterpoint to each cantus firmus, taking the C.F. as first the soprano, and second the bass. When taking the C.F. as the bass, you may lower that part by an octave.

I will be expecting 4 separate exercises.

If you have any questions, please be sure to ask me.

http://www.gutenberg.org/files/16342/16342-h/images/fig033.png

I wish I could say I wrote the following:

http://www.mozart-weltweit.eu/mozart-archiv/15a07.mp3

It seems almost perfect lol

I'm just looking at the species now

Chris :-)

I can't directly access the picture through that link but I have downloaded the .zip version of the Counterpoint book on the Gutenburg website.

So from now on you can just refer me to figures if that is more convinent. I am looking at figure 33 at the moment.

So you want me to individually write each part with the exercise independant of the other (ie. 4 files or whatever).

Or did you want me to write a complete 4 part counterpoint to both Cantus Firmus as is (treble) and then both written for bass?

Also, am I to think about progression or to simply abide by the initial criteria?

Chris :-)

Yes, sorry about that hotlinking. I will upload the picture just so as there is no doubt. I will consider using their book for examples.

Yes, each separate part of the exercise should be treated on its own, and not in conjunction with any of the other parts, that is to say, I don't want you to combine any of the different exercises.

I don't want four part counterpoint, just two as I asked.

You should *always* be thinking of progression, but that does not stop you from abiding the criteria I set you.

Well I can't find the image again, so I will trust you've used the same one.

Okay, so you want the C.F as Soprano initially with a bass counterline and then you want me to put the C.F as the bass and write a soprano counterline?

And do that for both exercises.

Sorry, Just making sure that we are understanding each other correctly.

Chris :-)

Yes, that's correct.

If you do it wrong, I will tell you anyway.

Each exercise contains the CF in the Bass and Soprano.

...

Hope these are alright.

Ex2a.MUS

Ex2b.MUS