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by: Bennie Reichert


Bennie Reichert
GPA 3.52


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Class Notes
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This 1 page Class Notes was uploaded by Bennie Reichert on Thursday October 22, 2015. The Class Notes belongs to MUTH 1304 at Texas Tech University taught by Staff in Fall. Since its upload, it has received 20 views. For similar materials see /class/226447/muth-1304-texas-tech-university in Music Ed & Music Therapy at Texas Tech University.

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Date Created: 10/22/15
N U 4 U 53 l 9quot Rules for Writing a 41 Counterpoint AKA Third Species 41 counterpoints have a prevailing texture of four notes in the counterpoint set against each note in the cantus The first note of the cantus may be set with four notes or with a rest and three notes The penultimate note of the cantus should be set with four notes the last of which must be the leading tone raised in minor Against the penultimate note of the cantus in a minor key it is possible for the leading tone to occur twice in such cases scale degree 7 should be raised both times and whereever it is 1 1 a d r 6 a1 1 r 6 must also be raised The final note of the cantus must be set with a single tonic pitch The first beat of each measure must be consonant The other three may be dissonant There are three types of allowable dissonances passing tones neighbor tones and dissonances within a double neighbor figure see below Double Neighbor Figures In an apparent exception to the rule about leaping from and to a dissonance the consonant tone on the first beat may be embellished by neighbor notes by the 2nd and 3rd notes in the measure with a leap of a third from one to the other The 4th note contains the same note as the first beat Generally the last tone is followed by a stepwise progression continuing the preceding melodic direction As in 21 counterpoints leaps larger than a 4th may occur within the measure ie from beat 1 to beat 2 but not across the barline Leaps of a 3rd across the bar line are fine leaps of a 4th across the bar line should be used sparingly Consecutive adjacent 5ths or octaves beat 4 to beat 1 and those separated by one beat beat 3 to beat 1 are both forbidden see Ex 3a With two intervening tones beat 2 to beat 1 avoid emphasizing the 5ths or octaves with leaps see Ex 3b 5ths and octaves on consecutive downbeats are permissible but no more than two consecutive downbeats should contain the same perfect interval see Ex 3c As in 11 and 21 counterpoints do not approach a 5th or an octave in similar motion unless the upper voice moves by step Unisons may occur on the first beat only at the very beginning or end of the exercise In the middle of the exercise it may occur as the 2nd 3rd or 4th note of the measure The climax should fall on the lst or 3rd note of the measure It should not be repeated elsewhere in the line but it may be repeated within the climactic measure if embellished by a neighbor note In general the rules for note against note counterpoint apply to 41 counterpoints one should avoid sequences the repetition of a group of notes eg double figures etc


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