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Rule Guide

by: Cassandra Flores

Rule Guide MUS 303

Cassandra Flores
GPA 3.0
16th Century Counterpoint
Dr. Zaheri

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About this Document

Melodic and Rhythmic guidelines for Monophonic part-writing.
16th Century Counterpoint
Dr. Zaheri
Study Guide
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This 7 page Study Guide was uploaded by Cassandra Flores on Sunday February 1, 2015. The Study Guide belongs to MUS 303 at University of Alabama - Tuscaloosa taught by Dr. Zaheri in Spring2015. Since its upload, it has received 94 views. For similar materials see 16th Century Counterpoint in Music at University of Alabama - Tuscaloosa.


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Date Created: 02/01/15
Rule Guide Thursday January 29 2015 627 AM Melodic Rules Allowed consecutive melodic intervals Diatonic 2nds amp 3rds Perfect 4ths 5ths amp 8ves Diatonic 6ths 0 Less common 0 Only ascending allowed Minor 6th preferred Outlawed intervals Tritone aug 4th or dim 5th Any chromatic line that employs augmented prime 0 EX CC A 7ths Any diminished or augmented intervals Excep ons Dead interval 0 Only occasionally 0 Observe a rest interrupting a leap of a 6th or a 7th Only when appropriate textually not in the middle of a word Motion generals Typically stepwise motion is used The larger the melodic interval the less frequently it tends to occur Highest peak and lowest valley are crucial tones and shouldn39t be repeated too frequently Treatment of Leaps Typical occurrences o Leaps typically at the top or bottom of a line when moving in the same direction Not in the middle 0 Following a leap melodic motion typically changes direction by step or leap The greater the interval the greater the need for this 0 Think of lling in the gaps created by leaps Things to avoid o Leap larger than a third that continues the previous stepwise direction Not outlawed More than 2 repeated notes in succession Outlawed for now Continual repetition of a single pitch aka circling the airport Continual outline of a triad O O O Makes the music sound too tonal 0 Too much scalar motion Generally don t outline more than 4 successive pitches sounds like the beginning of a tonal scale as opposed to mode Think of disguising the generally scalar motion with quotdiversionsquot read leaps Allowed but not frequent o Leaps in succession and same direction If they are outlining a major or minor triad in root or 2nd inversion Partitioning octave with successive 4ths and 5ths DA C in ascending motion Only in Dorian mode Almost always must change direction after a double leap Chromatic Alterations Bb may be found in all modes 0 Use is more common in Dorian or Lydian where F is an important structural note Tritone interval must always be corrected with Bb Short melodic fragments with upper and lower limits that outline an augmented 4th are to be avoided 0 Found as an upper neighbor to A ABbA Not a requirement just a possibility Use of all raising accidentals musica cta is restricted to cadences 0 Raising accidentals C F or G as applied to D G and A o Cadences on E F and C do not require chromatic alteration Rhythmic Rules Beginning Compositions must begin with value of a semibreve or longer Snowball effect progressively speed the durations as you get into the piece Middle Anything larger than a breve must occur on a strong beat 1 or 3 It is rare to nd a breve followed by a minim More active and consistent rhythm in the middle section than on the end and beginning Repetitions of rhythmic gures that imply a dance ike setting are avoided End Always ends on a breve Semplice cadence o Penultimate note is a semibreve ultimate is breve Diminuta cadence o More elaborative Cadence tone semibreve then leading tone minim nal tone breve Treatment of rests Must always occur on strong beats Progressively slow as you come to the close of a piece Treatment of Text Rhythm must outline accent pattern of text 0 Accented syllables typically have either more notes or longer notes to portray agogic accent This disregards the beat that they fall on Strong tendency towards mixture of melismatic and syllabic setting in this ster 0 Some neumatic as well but not extensive 113 lnClass Covers material from Ch 1 Sunday February 1 2015 752 PM One Peron in each voicing keeps time not a conductor think more like section leader Not actually a capella in many cases gtUsually organ or string parts gt This is a fallacy Rhythm Note types and modern equivalents o Maxima Longa longer than breve relatively uncommon o Breve double whole note equivalent of one measure Semibreve whole note Minim half note Semiminim quarter note Fusa eighth note rare Semifusa sixteenth note extremely rare almost nonexistent Because this is vocal music and typical quottime signaturequot gives minim the beat Would be dif cult to execute with accuracy 00000 Time 0 Semibreve gets the beat generally Semibreve 48 Sometimes 64 less often More melismatic passages move quickly Mensurstriche 0 Early barlines Vertical line extending halfway down the measure Allows for original dot notation Mensurstriche follows beat that brings the total of beats to 4 If over 4 beats the overage is corrected in the next bar possible Ecclesiastical Modes Dodan o Finalis D o Reciting tone A Phrygian o Finalis E o Reciting tone C Lydian o Finalis F o Reciting tone C Mixolydian o Finalis G o Reciting tone D Note review plainsong and Gregorian chant Each mode has 2 forms 0 Authentic or plagal Plagal is transposed up a P4 0 Finalis Important note in mode Will be the tone that the nal cadence resolves to o Reciting tone also called tenor or repurcussio usually a 5th of nalis in authentic mode Bb 0 Only accidental in chant To avoid the tritone quotdiabolous en musicaquot devil in music Always xed with Bb and never F Hexachord Naturale System C Ut D Re E Mi F Fa G Sol A La Solmazation modal relationships moving hexachords to utilize range Mutation processes like movable do 0 When transposed to G durum hard bc of B natural 0 When transposed to F molle soft bc of Bb Ex In gure 16 Raising accidentals F C G only at certain times 0 To create a leading tone if nalis is G D or A 0 quotColor tonesquot Mostly in homorhythmic settings 0 To preserve intervals in imitative passages


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