Terms in this set (28)
created when two or more different melodic lines are combined so that they form harmonies, or when individual voices in a succession of harmonies make good melodic lines.
the process of connecting harmonic and melodic intervals between triads and seventh chords.
method of teaching counterpoint, allows you to first learn the simplest style in two parts and then add complexity until writing it in four or more parts.
"given line" that's not to be changed. CF1
the simplest type of counterpoint. Matches each note of the cantus with a note of the same duration. aka "note to note" or "1:1" because both notes move at hte same time to the next harmonic interval.
half or whole step (m2 or M2)
a third (it "skips" between adjacent triad members)
a fourth, fifth, or larger
consonant skips and leaps
skips and leads should be consonant. m3, M3, P5, m6, M6m and P8.
one or two high or low points, avoiding repeating one or two notes excessively. mostly skips with a few leaps (mostly conjunct).
a melodic line that moves primarily by step
one that moves primarily by skip or leap
you may use one leap. It should be ideally introduced by a step in the opposite direction, and after the leap it should change direction again and fill the space with smaller intervals. Avoid one followed by a skip or a step in the same direction.
how should counterpoint end?
stepwise to the tonic. (usually 7-1 in the counterpoint versus 2-1 in the cantus).
what's the exception to using diatonic notes?
in minor mode raise b7 to 7 to create a leading tone (changing natural to harmonic minor). If b6 is present, change is also. While adjusting these, be conscious of creating dissonance or consonance with the other line. Never go from b6 to 6, making an unacceptable half-step. Avoid melodic A2.
intervals larger than 10
should be simple rather than compound. (4 instead of 11). 10 can be 3 or 10. Usually not longer than a 10th anyways. Can be occasionally, but not for long.
two parts move in opposite directions. preferred. doesn't have to be the same interval.
both parts move in the same direction by the same interval. Allowed between imperfect consonances, but not perfect. (no parallel 5ths or 8ths!)
both parts move in same direction, but not by same interval. Can be used freely except when approaching a perfect interval, where it's acceptable only if the upper part moves by step.
one part stays in unison the other moves by step, skip, or leap. Acceptable but not desirable, given that it requires one art to be static.
may be found at beginning or end and occasionally in the middle but not frequently because it sounds hallow.
tends to stand out if not approached properly.
approached by upper voice with step, approached by lower with skip or leap.
parallel imperfect intervals
should be limited to three in a row.
highly desirable! stepwise contrary motion.
higher voice going lower than lower voice, vice versa. not allowed!
same thing as crossed voices, but not at the same time. The two parts should have entirely different ranges.
okay, as long as there are steps around them.
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