FUNDAMENTAL , COUNTERPOINT by Hugo Norden, D.Mus. of Masic Theory Prof SCHOOL OF FINE AND APPLIED ARTS BOSTON UNIVERSITY @ CRESCENDO PUBLISHING COMPANY BOSTONFOREWORD This slendeP volume has a single and unpretavious purpose to provide the beytiner in Counterpoint with a dependable foundation upon which to build big compositional technigde To this end the traditional five Spées are called into play, largely because they make a¥ailable on/2 systematic basis — free of any stylistic characteristics — the pyfly technical considerations in herent in the various time and ovement relationships of concord 8 dicord in an abstract ealisée! foc I, by this means, the/Student achieves a competence in the ‘manipulation of con:rapustal materials and develops a tehnical norm from which his individal creative style will Bossom, the mision of this sketchy and all/io brief introduction wo the perennially fresh art of Counterpoiat will have succeeded, Huge Noiden Boston, Madachusetts April 2, 1969 TABLE OF CONTENTS Introductory Observations Chapter 1 Chapter T Chapter 11 Ghaptce IV Ghapece V Chapter VI Chapter VIL rapier VITE ‘Chapter 1X. Chapter X. ‘Chapter XI ‘Chapter XII ‘Ghapter XIIT ‘Chapter XIV Chapter XV ‘Cospier XVI Chapter XVII Appendix, Contrapunal Melody “The First Species (Nove Against Note) ‘The Fire Species, Continued “The First Species, Concluded ‘The Second Species (Two Notes Against One) ‘The Third Species (Pour Notes Against One) "The Third Species, Conchuded ‘The Hous Species (Two Not, Syncopated Against One) . ‘The Fifth Species (Florid) “Two Pacts in the Filth Species cE hous a Given The Fit Spaces Without 2 Given CF, Concluded Countespoint in ‘Three Parts ‘Counterpoint in Three Parts, Continued Counteepoint in ‘Three Parts, Continued... Counterpoint in Thee Parts, Concluded .... Counterpoint in Four and More Parts “Triple Rhythm . Double Counterpoint, Triple and Quadruple Caunterpoine 3 36 6 10s, 109 us.ABBREVIATIONS Concerning intervals M major Pe perfect 4 diminished A augmented Concerning dscords: aux sniliany-note pin, —_passing-note . suspension Concerning eondapuntal elements: CR Cantus Firmus Opt. Counterpoint Sp. Species INTRODUCTORY OBSERVATIONS 1, COUNTERPOINT ig that branch of musie theory whichyés con- cerned with the construction and the combination of medics. Tt tlilfers from Harmony in one important respect: sehereas ip’ Harmony ‘the emphasis is on the vertical “chords.” in Counterpoist the hori- zontal contours of the melodie lines are stressed. However, from the focegoing statement it must not be assed that Cis 8 cae of iron.” It is rather a difference in deytee mee than of kind. or linear and vertical considerations are involved in every musical 2, ‘The term “Counterpoint” comes from the/Latin “punetus contra punesum,” oF note against nove. The emphasis here is on the word “against” Contrapuntal lines are played ér sung againt, not with, each other #0 that the prevailing spirit one of conflict and sess ‘This requires silllal construction of jhe separate melodic lines t0 Insure smooth effective operation 3. OF course, this is not conflict h the violent sense. Ik is more pearly that of two oF more lines, gach with a characterise design of its own, functioning simultaneoysly with a common artistic purpose Tn fact, this constanty surging activity of two or more contrapuntal lines maving at once is often éompared to that of quite unlike people ‘working together. Discord/and its ensuing concord are integral in- Agredents of the phenomgha both of living and of musi 4. There are three way in which the study of Counterpoint can be approached: (1) through uh system of the five soealled Species which present in idealized {oem all valid horizontal and vertical contrapuntal ‘relationships of concord vs, discord quite apart from any particular rurieal historical syle; (2) thiyigh purely abstract study of the various contrapuntal imechasims, such as Canon, which are derived systematically from cert mathematial formulas, and (3 fom the analysis of musical compositions in various styles jyithout any scientific considerations.