Music Theory 1 Week 2 Notes
Music Theory 1 Week 2 Notes 41336
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This 3 page Class Notes was uploaded by cpark100 on Saturday February 6, 2016. The Class Notes belongs to 41336 at Ithaca College taught by Dr. Crystal Peebles in Spring 2016. Since its upload, it has received 29 views. For similar materials see Music Theory 1 in Music at Ithaca College.
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Date Created: 02/06/16
Music Theory 1 Week 2 Notes Day 1 We are still reviewing first species and counterpoint Here are some of the rules of counterpoint/first species - there are four types: contrary, similar, parallel, and oblique - first species counterpoint differ from other types of counterpoint because voices are lined up for every note on cantus firmus, there is one note in the counterpoint - perfect consonances are P8, P5 - imperfect consonances are m3 and m6 - what are only allowed dissonances? In a V chord… o Sol-fa -> mi-do m7-> M(m)3 o ti-fa -> do – mi d7 -> M(m)3 o fa-ti -> mi-do A4 -> m(m)6 - Illegal moves o Parallel motion between consecutive perfect fifths o Parallel motion between consecutive perfect octaves o Similar motion into a perfect fifth (direct fifth) o Similar motion into a perfect octave (direct octave) o Excessive parallel motion between imperfect consonances o Voice crossing o Voice overlap - Tips to write counterpoint o Beginning in counterpoint, if cantus firmus is on the bottom, can start on degree 1, 3, 5. If on bottom, only scale degree 1 o No consecutive oblique motion more than twice o Shorter the range from lowest note and highest note, the better o Minor, be aware of scale degree 6 and 7 o Usually voices end on scale degree 1, and above cantus firmus, it can be either scale degree 1 and 3 Refer to handout 3 in packet to get more information on making counterpoint Day 2 Writing minor counterpoints - we did an exercise in the workbook page 104 exercise B - look over handout 4 - Minor Key Counterpoint!!! o Be very mindful of la/leh and ti/teh Second Species - counterpoint is twice as fast as first species o example: if cantus firmus is played in whole notes, counterpoint is played with half notes - all rules used for first species is applied to second species - 3 ways to embellish a melodic line o passing tone: fills in a third skip by stepwise motion. It is approached by step and left by step in the same direction. Usually unaccented (weak beat). Can be accented Example: o neighboring tones: embellishment on an unaccented on an unaccented part of a measure that decorates a melody note by stepping to the note above or below it, then returning to the original note o suspension: an accented rhythmic embellishment created when a consonant note is tied into the beginning of the next measure, forming a harmonic dissonance until the suspended note resolved down by step. We have not finished all of handout 4 so do not worry about it. Review both first species counterpoint in music theory textbook pages 180- 198. Workbook page 104 Exercise B Tips to writing counterpoint - always analyze the cantus firmus - look at the key and melodic shape of the cantus firmus - if you can write a chart/list somewhere on the side, for each note find these degrees of each note: 8, 3, 5, and 6 degree o REMEMBER: count the degrees carefully depending on if the cantus firmus is on the top voice or the bottom voice. Usually students and including myself to mix up the degrees when cantus firmus is on top. o Example: if cantus firmus is played in C major and the note on top is an F and I want to put the 6 degree of an F on the bottom, the note will be an A, not a D. You must count from the bottom note up to the top note Always practice writing counterpoint melodies and surely enough you will get better!!
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