Look what I can do, Ma! Here’s a neat tool I’ve been playing around with called diigo! I can annotate webpages and share these notes with you. I don’t exactly know what YOU will see if you click on the links, but give it a try. Will someone post a comment and give me some feedback? I plan to discuss diigo next week at a conference. Thanks!
~*~*~*~*~*~*~*~*~*~*~*
Introduction 2 Annotated
- This is a good overview of the basic distinguishing features of each species of modal counterpoint.
we concentrate on consonant harmonic intervals and begin to develop a sense of melodic purpose.
passing tone
problems of creating a goal-directed line with increased possibilities for dissonant configurations
suspension figure
Cantus Firmus AnnotatedDon’t worry! You’re not expected to compose a cantus firmus for this class. =) Keep in mind, though, that the rules for the CF do generally apply to the CP. - post by msovoicemsovoice Annotated
The cantus firmus begins and ends on the tonic of the key or the final of the mode
This range is occasionally stretched as far as a 10th.
Conjunct (stepwise) movement
If the leap is greater than a 3rd, it must be followed immediately by motion, preferably by step, in the opposite direction to that of the leap.
Two successive leaps in the same direction are to be avoided
First Species Counterpoint
- I recommend doing all of the species exercises. You’ll likely do better on your counterpoint “project” and come to the table more prepared for lectures on chords and 4-pt writing! - post by msovoice
- Keep in mind what Prof. Williams had to say about transposition for cantus firmi! - post by msovoice
The line of counterpoint should be written for an adjacent voice; that is, if the cantus firmus is in the alto, the line of counterpoint can be written for either soprano or tenor (example 1).
- Well, I know you would all prefer to write in bass or treble clef. It won’t always be possible because you have to consider the appropriate vertical distance between parts! - post by msovoice
In those modes which lack a natural leading tone, like Dorian, Mixolydian, and Aeolian, a leading tone can be created by raising the mode’s 7th degree chromatically.
The Phrygian mode is a special case. Although it lacks a natural leading tone just as the Dorian, Mixolydian, and Aeolian modes do, it contains a sort of upper leading tone in its 2nd note — a note one half-step above the mode’s tonic, or final, rather than below it. This upper leading tone is one of the Phrygian mode’s distinctive characteristics. Because of it, and the tension that it creates, this mode doesn’t need a leading tone on the 7th modal degree at all.
- Interesting! Does anyone remember Prof. Williams saying anything about this? - post by msovoice
There are four types of motion by which one may progress from one interval to another: parallel, similar, oblique, and contrary.
Direct or hidden 5ths and 8ves
