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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 14 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
Rules for Writing a Counterpoint with Suspensions AKA Fourth Species Fourth species counterpoint has a prevailing syncopated rhythm of tied half notes if the cantus N U 4 is moving in whole notes if the cantus moves in half notes then the counterpoint moves mainly in tied quarter notes if the cantus moves in quarters then the counterpoint moves mainly in tied eighth notes etc The consistent exceptions are that the counterpoint always begins with a rest and its penultimate note the leading tone is never tied into the final bar The second note of each measure must be consonant The first note may be consonant or dissonant If it is a dissonance it must be a suspension Suspensions must be tied over from a consonance in the preceding measure and must resolve downward by step to a consonant note If the first note is consonant it is free to move by leap or by step Possible dissonant suspensions for an upper counterpoint include a 7 6 b 4 3 and c 9 8 The third of these 9 8 should be used sparingly and two 9 8 suspensions should never occur in succession Possible dissonant suspensions for a lower counter point include a 2 3 b 9 10 and c 4 5 The third of these 4 5 should be used sparingly and two 4 5 suspensions should never occur in succession Forbidden dissonant suspensions include 2 1 in an upper counterpoint and 7 8 in a lower 5quot 53 gt1 9quot 0 0 counterpoint Dissonant suspensions should predominate Consonant suspensions should be used only to relieve the incessant downward motion that results from the resolution of dissonant suspensions Avoid more than three suspensions of a single type in a series Octaves and fifths separated only by a dissonant suspension are forbidden when they are separated by a consonance they are permitted See Ex 4 Unisons may be used freely except as part of the forbidden 2 1 suspension Occasionally for melodic reasons the species may be broken and a pair of untied notes may be introduced The rules of 21 counterpoint will govern these notes Any pair of untied notes must be followed by a pair of tied notes ie after breaking th species one must return to the syncopated rhythm of fourth species as quickly as possible The counterpoint should always move from scale degree 1 to 7 in the penultimate measure forming a 7 6 suspension against the cantus when it is in the upper part and a 2 3 suspension when it is in the lower part No other endings are acceptable In general the rules for note against note counterpoint apply to fourth species the counterpoint should contain a climax which is not repeated it must be entirely diatonic except for the end of a minor setting it must not contain dissonant leaps two successive leaps in the same direction should outline a triad more than two successive leaps in the same direction should be avoided leaps larger than a 4th should be both preceded and followed by a change of direction there should be more steps than leaps one should avoid sequences or the repetition of a note or group of notes etc


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