uperius [enor Sontratenor Lacau-se est a - Lacau-se cst a - men, e Principles and Practice : of Modal Se a = = = oe ee a es see - Er tanem'est a = mer, A = men quien la mer me voudroy-e voir eo. f- a. ot! —~» = 2 oe ie Jo Et tant m’est a - mer, - mer, quien la mer — me v 6 = zz — ——, * = zFirst published 2011 by Routledge 270 Madison Avenue, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 ARN Routledge ican imprint ofthe Taylor & Francie Group, am informa businace This edition published in the Taylor & Francis e-Library, 2011 To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to WwW.eBookstore tand# co.uk. © 2011 Taylor & Francis Al rights reserved. No part of this book may be reprinted or reproduced ‘or utilized in any form or by any electronic, mecharieal, or other means, now known or hereafter invented, including photocopying and recording, or in any infomation storage or rezieval system, without pemission ia ‘writing from the publishers. ‘Trademark Notice: Product or comporate names may be trademarks or registered trademarks, and ace used only for identification and explanation without intent to infringe. Library of Congres Cataloging in Pubhenton Data Greats Douglss M. (Douglass Marshal, 1929-1999. The principles and prac of modal counterpoint / Dosglas Green and Evan Jones Tacluce bibliographical rfrences and inde, Counterpoint. Jones, Evan Il. Tite MISs.o81a075 2011 7286-2 2010008507 ISBN 0-203-84655-9 Master e-book ISBN ISBN13:978-0-415-87821-0 (hbk) ISBN13:978-0-415-98865-0 (pbk) ISBN13:978-0-203-B4655-1 (cbk)Contents Chapter 1 Chapter 2 Chapter 3 Chapter 4 Foreword by Jonathan C. Sartore Preface Modes and Monophony 1.1 Authentic and Plagal Melodies in Folksong 1.2 Scales and Modes 1.3 Plainsong 1.4 The Problem of Ionian and Aeolian The Single Line 2. Species Counterpoint 2.2 The Melodie Line 2.3. Melodic Intervals Counterpoint During the Middle Ages 3.1 Early Organum 3.2. Voice Interchange 3.3. Music Without a Plainsong Basis First Species in Two Voices 4.1 Harmonic Intervals: Consonance and Dissonance 4.2. Types of Motion 43 Adding a Counterpoint Againsta C.F. 24 24 26 28 33 33 35 40wi Contents Chapter 5 First Species in Three Voices 46 5.1, Harmonic Intervals 46 5.2 Characteristics of First Species in Three Voices 47 Chapter 6 Counterpoint During the Fourteenth Century 34 6.1 Fourteenth Century Textures and Rhythms 54 6.2 Canon and Hocket 58 6.3. Cadence Types 62 6.4 Fauxbourdon 64 6.5 The Style of John Dunstable 64 Chapter 7. Second Species in Two Voices 75 Chapter 8 Second Species in Three Voices 81 8.1 Intervals and Focal Points 81 8.2 Parallels on Successive Strong Beats 82 8.3. Cadences 82 Chapter 9 Counterpoint During the Renaissance 87 9.1 Introduction 87 9.2. Secular Pieces in Three-Part Counterpoint 88 9.3. Sacted Music in Four and Five Parts 98 9.4 Dissonance 107 9.5 Meter 107 9.6 Mensuration Canons 110 Chapter 10 Fourth Species in Two Voices "7 10.1 Consonant and Dissonant Syncopes 17 10.2 Suspension Types 120 10.3 Summary of Fourth Species 121 10.4 Application of Fourth Species 122 10.5 An Approach wo Writing Fourth Species 124 Chapter 11. Fourth Species in Three Voices 130 11.1 Addition of a Third Voice to a Two-Voice Suspension 130 11.2. Relationship Between First and Fourth Species 134 11.3. Suspension Possible Only in Three or More Voices 136 11.4 Cadences 137Contents vi Chapter 12 Texture, Melody, and Meter 141 12.1 Further Characteristics of Renaissance Music 141 12.2 The Cadential Suspension 149 12.3 Meter in the Single Line 154 12.4. Imitation and Fore-Imitation 155 12.5 The Bicinium 156 Chapter 13 Further Aspects of Species Counterpoint 164 13.1 Mixture of the Spe 164 13.2 Species Counterpoint in Four Voices 165 13.3 Summary of Dissonance, Use in Second and Fourth Species 169 Chapter 14. The Melodic Line 170 14.1 Introduction to Modal Counterpoint 170 14.2 Notation 71 14.3 Melodies in Quarter-Notes and Longer Values 172 14.4 Melodies with Eighths and Sixteenths 175 145. Setting Latin Words 178 14.6 Mode 180 14.7 The Single Eighth-Note and the Sixteeath-Note Pair 182 148 Isolated Eighth-Nowes in Pairs 185 149. Eighth-Notes in Groups of Three or More 187 14.10 Use of Accidentals 190 14.11 Melodic Curve 191 Chapter 15 Modal Counterpoint in Two Ve 195 15.1 The Dissonances 195 15.2 The True Cadence 199 15.3 The Initial Phrase in Two Voices 201 15.4 Interior Phrases 202 15.5 Method for Writing a Two-Voice Phrase 204 15.6 The Consonant Cadence 208 15.7. Analysis of a Bicinium 209 15.8 Writing a Bicinium 21 Chapter 16 Modal Counterpoint in Three Voices 214 16.1 Texture 219 16.2 Cadences 220 16.3 Motives and Imitation 225 16.4 Victoria's E¢ Misericordia Ejus: Cadential Treatment 226 16.5 Victoria's Et Misericordia Ejus: Motivic Treatment 230vit Contents 16.6 Part Writing 16.7 Consonant Harmonies 16.8 Unaccented Dissonance 16.9 Accented Passing Tones 16.10 Suspensions 16.11 An Alternative Example Chapter 17 Modal Counterpoint in Four or More Voices Chapter 18 17.1 Texture 17.2 Doubling in Consonant Sonori 17.3 Suspensions in Four Voices 17.4 The Final Cadence 17.5 Initial Notes 17.6 Types of Imitation 17.7 Triple Time 17.8 Some Notes on Writing in Five or More Voices The Rise of Tonality in the Seventeenth Century 18.1 Dissonance as Expression in the Early Seventeenth Century 18.2 Dissonant Chords Before the Seventeenth Century 18.3. Seventh Chords in the Seventeenth Century 18.4 Nonchordal Dissonance: Notes of Adjacency 18.5 Nonchordal Dissonance: Time Extensions 18.6 Diminutions Epilogue: The Nature of Counterpoint Answer Boxes for Self. Appendix A: Some Latin Texts Appendix B: Pronunciation of Church Latin Appendix C: Tones and Text of the Magnificat: The Canticle of the Blessed Virgin Mary (Luke 1: 46-55) Appendix D: Facsimile of Parts for Palestrina’s Missa Sine Nomine, Agnus Il Notes Select Bibliographies Index of Rules for Species Counterpoint Index of Rules for Modal Counterpoint Index of Musical Examples 232 233 234 235 238 241 244 244 249 250 256 259 260 263 267 268 268 269 270 a7 273 276 281 283 293 295 297 299 302 306 313 314 316aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.The Single Line 2 @i 23 4 5 6 7 8 9 0 uBR 1B In performing these and the previous C.R, you may have made some or all of the following observations: 1. Species counterpoint is strictly diatonic, No chromatic half-steps appear and the only accidentals are those necessary to create a leading tone or to avoid an augmented second in approaching the leading tone from below. Two half-steps in succession must be avoided: for instance, B-A~Gt, 2. Occasionally a note is repeated, but rarely more than once. 3. Only easily sung melodic intervals are employed. No leaps of augmented or diminished intervals, no leaps larger than a perfect fifth and minor sixth except for the octave. Minor sixths occur only very occa- sionally and always in ascending, never descending, motion. Major sixths are entirely avoided. 4, Melodies end on the final of the mode. The final is approached by step either from above or from below, Although in these examples all melodies also begin on the final, this isnota strict rule, If not the final, the first note will probably be the fifth degree of the scale. 5. Approach to the cadential } is usually by step from above. When the final is approached by step fom above, that is, from scale-degree 2, this,ngte is itself approqched by step or by @ descending third. In other words, the last three notes will be 3-3-1, 1-3-4, or 4-3-1. Of these, 3-2-1 is the most common, 6. A melodic leap must be compensated for in one way or another. Either the note immediately preceding or the note immediately following a leap should move in the opposite direction to the leap itself, That is, leaps must be either approached or left by motion in the opposite direction. While leaps may be both approached and left by movement in the opposite direction, this contour is nota requirement except in the case of large leaps—the ascending minor sixth and the octave, ascending or descending (see item 7 below). The compensating movement in the opposite direction does not necessarily have to be by step. ‘The rule for leaps ofa major or minor third, perfect fourth, or perfect fifth may be put this way: when a leap occurs itis either at the bottom of a line in a single direction or at the top, not somewhere in the middle. 7. Large leaps are both approached and left by contrary motion. ‘The ascending minor sixth and the octave are considered large leaps. For the salke of balance in the line, the notes both preceding and fol lowing must lie within the gap produced by these leaps. (See Example 2-5(b), notes 6-8; Example 2-5(c), notes 4-6; and Example 2-S(e), notes 2-5 and 7-11.) 8. Occasionally double leaps occur. ‘Two successive leaps in the same direction occur twice in Example 2-5ia), notes 4-6 and 8-10, In this case the double leap must be both preceded and followed by motion in the opposite direction. Moreover, the double leap itself must outline a major or minor triad (not diminished or augmented). Or, the two leaps may outline an octave—a perfect fifth as the lower leap, a perfect fourth as the upper leap (as in Example 2-5(d), notes 1-3). A general principle regarding double leaps is that the smaller leap is never the lower one.2 ‘The Single Line 9. A high or low note is not isolated by register from the other notes, but is incorporated into the line by ‘means of notes a step ora third away. SELF-TEST 2.1 The following are intended to help you reinforce this information. Directly above each melody, write “good” or “bad” with the numbers 1 through 7 of the observation that it illustrates or ignores. @) ) © 2 a © (6) ® (hy @ @ (k) o ‘There is one more observation very important to an acceptable melodic line in species counterpois ‘This has to do with the avoidance of the stressed tritone. In everyday language the word “tritone” is often used to mean either the augmented fourth or the diminished fiith. When correctly used, however, the term applies only to the augmented fourth, which indeed comprises three (whole) tones: hence, “ci-tone.” The diminished fifth, on the other hand, is made up of two half-steps, one at either , and two whole tones, OF course the total number of semitones in either case is six, but the effect in tonal and modal music of a tritone is very different from that of the diminished fifth. In illustration, sing, play, and sing the melodies given in Example 2-6, DO NOT READ FURTHER UNTIL YOU. HAVE DONE THIS. EXAMPLE 2-6 @12345678 (12345678 (1234567 Greene a 8aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Counterpoint During the Middle Ages 2 In addition to the dominati 1g parallel motion, it includes oblique motion at the beginning of phrases and two or three instances of contrary motion. By the next century, contrary motion in orginum was being both practiced by composers and advocated by some theorists. In the twelfth century in certain places in Spain and France, another type of organum was being practiced, which has come to be called florid or melismatic organum, The organal voice, rather than moving note-against-note with the principal voice, sings a melisma in an improvisatory manner above the slower- moving notes of the plainsong. Thus what had originally been the chief tune, the plainsong itself, was now more of a foundation made up of a series of long sustained notes acting as a support for the fantastic arabesques in the upper voice (Example 3-2).! EXAMPLE 3-2 Since the manuscripts, found in the monastery of St. Martial in south-central France and the monastery of Santiago de Compostela in northwestern Spain, are by no means consistently clear as to precisely where the simultaneities occur, we cannot draw hard-and-fast conclusions regarding consonance and dissonance treatment in melismatic organum. What is interesting for us in this study is the texture of this music— trwo melodic lines performed simultaneously but maximally contrasted to each other. By the late twelfth century, composers may have felt the need for a notation by which they could indi cate the rhythms of the two voices more precisely of chythmie modes came into being. Each of the six modes provided a basic rhythmic pattern similar to those found in poetry, and means were worked out by which slight variations of these patterns could be notated, Example 3-3 is based on the first rhythmic mode, long-short, here tanscribed as a quarter-note followed by an eighth-note, Over a period of years the practice of notating by means6 Counterpoint During the Middle Ages EXAMPLE 3-3 From Gaude Maria Leonin w s : ‘ 2 a bri = feted As mightbe expected, phrase endings formed the interval of an octave or perfect fifth. Rarely one might find a perfect fourth. More often than not, phrases also began with one of these perfect consonances, but they did not do so consistently. They might even begin with dissonances. Leonin's Gaude Maria (Example 3-3) begins its first two phrases (not shown) with a minor seventh and a major ninth, respectively, both moving immediately into an octave. In twelfth-century counterpoint there was often a great deal of parallel motion, particularly parallel perfect fifths. 3.2. Voice Interchange The anonymous work given as Example 3-4 is a fascinating motet from the thirteenth century. The text itself is amusing. It interrupts the word “Alleluya” by inserting other words between its second and third syllables, at each repetition adding length to this interruption, Finally, as a kind of coda, we hear the word in its normal form, EXAMPLE 3-4 Alle, psallite Anonymous, 13th c.Counterpoint During the Middle Ages a Alle- sing with —_-luya. Alle. noisily sing with —-luya Alle- to God with a full heart sing with -luya, Alleluya. ‘The tenor sings a bit of melody, which may or may not be taken from plainsong, three measures in length. Above this a second voice, the duplum, sings a counterpoint, virtually note-against-note. Above this a third voice, the triplum, sings a slightly more florid counterpoint, These three measures are imme~ diately repeated, the sole difference being that the duplum sings what the triplum previously had, and the triplum sings what the duplum previously had. This type of voice interchange, als» known by the Germanaa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.First Species in Two Voices 39 by ascending motion to a perfect fifth with the same provision: the upper note progresses by step. OF the two motions, the descending one is better and more common (Example 4-8). EXAMPLE 4-8 o good tolerable Special note should be taken of the fact that this leniency is given only to the direct perfect fifth, not the direct octave or unison. ‘The third point is that in two-voice species counterpoint, the parts may not cross. At each moment the upper voice must remain literally above the lower voice. In the next chapter we will observe that crossing does sometimes occur between upper voices in a three-part texture, but very rarely does a voice cross below the bass. In two-wice writing, of course, any crossing is necessarily with the bass (ie. the lower voice). Such strictness limits available choices and thus helps the student's development. Be careful to distinguish between crossing and overlapping. Voices are crossed when the lower voice moves above the upper voice so that at a given moment the lower voice is actually higher. Voices are overlapped when the lower voice moves to a pitch higher than the previous note of the upper voice. In overlapping there is no moment when the lower voice is literally higher than the upper voice. crossing overlapping Finally, to ensure independent melodic curves between the voices, no more than three parallels (thirds or sixths) may occur in succession. The rules regarding first-species counterpoint in two parts may be summa ed as follows: . Only consonances may occur as harmonic intervals: perfect fifths, perfect octaves, major and minor thirds and sixths, The perfect unison may appear as the first or last interval only, All dissonances and the perfect fourth are excluded. 2. Oblique motion is always good. With the exception of consecutive perfect fifths and perfect octaves, contrary motion is also always good. Parallel (consecutive) perfect fifths, perfect octaves, and perfect unisons are forbidden. 4, Similar motion into a perfect interval is forbidden except in the case of the “horn fifth” (descending from a third to a perfect fifth or, less often, ascending from a sixth to a perfect fifth with upper voice moving by step). 5. Overlapping is to be avoided—that is, do not allow the pitch of a lower voice to be higher than the immediately preceding pitch of the upper voice, or vice versa. 6, Crossing of voices is not allowed. We are limited to three parallel thirds or three parallel sixths in succession, 8. For the most part the two voices should remain within the space ofan octave of each other, never more than a twelfth. e40 First Species in Two Voices 9. Each voice cadences by step on the final. Thus, the last two dyads form either a minor thied moving to a perfect unison, or a major sixth moving out to a perfect octave. 10. Avoid cross-relations; that is, a note in one voice should not be immediately preceded or followed in another voice by an altered version of the same note. For example, if the upper voice has a C-natural, the lower voice should not follow it with a C4 4.3 Adding a Counterpoint Against a C.F. Two-voice counterpoint consists of two melodies that ideally are of equal melodic interest but which, while producing good harmony, are opposed to each other in some way. In later chapters we will see that this opposition is generally a matter of rhythm. For the time being, writing only in whole notes, the opposition is expressed mainly in ensuring that the two focal points do not replicate each other. In other words, the climaxes should appear at different times or be of differing types, eg.,a zenith vs. a nadir. Before beginning to write a counterpoint against a given C.F,, then, itis best to sing the C.F. several times, noting its mode and the melodic curve displayed. Since the perfect fourth is not an available harmonic interval, the pening must produce a unison, a perfect fifth, or perfect octave, Each voice must begin on either scale-degree f or §. This means, then, that if the C.F. is the upper voice, the counterpoint must also begin on f in order to form a consonant interval. After writing the first note, skip to the end and write the last three notes of the cadence. Then plot a curve that will get you from the first note to the beginning of the cadence and that will provide a curve differing from that of the C.F. (See Example 4-9.) it EXAMPLE 4-9 We might choose a G5 for the zenith, producing an octave with the C.F. at note 6. In that case we can easily lead up to the zenith as shown in Example 4-10. We now have a satisfictory counterpoint to the C.F, since the curve of each line is independent of the other and only approved harmonic intervals occur. Moreover, as a melody the counterpoint is as acceptable as the C.F. EXAMPLE 10First Species in Two Voices a On the other hand, suppose we had chosen to make a zenith on GS at note 4 rather than note 6. We would have had difficulty choosing suitable fifth, sixth, and seventh notes (Example 4-11). EXAMPLE 4-11 OM mae Ascery: 2nd ery Bed ery: Athy: Sth ery: CE The lesson to be learned, then, is this: when working with a C.F, one cannot be rigid about one’s original choice of the curve for the counterpoint. If we had been determined to use note 4 as our zenith and had GS in mind for this zenith, we would have had great difficulty in writing a really good counterpoint againstit. The student must always be flexible about original decisions, setting them down tentatively only. Still, it is important to plot the curve. Long-range planning is essential if melodies are to be musically coherent, but one’s mind must be constantly epen to possible alterations Counterpoint deneath the C.F. must begin on scale-degree 4, since 5 would form a perfect fourth with the C.F, However, if the counterpoint begins after a rest, it might well start on 5,aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.4 First Species in Two Voices Plainsong EXERCISE 4.2 Write one counterpoint above the following C.F. and another below it. The C.F. is to sound with one or the other of the parts you write—not all three together (notice the brackets). MorleyFirst Species in Two Voices 4s EXERCISE 4.3 Write three examples of first-species counterpoint in two voices without a C.F. Each example should be in a different mode and at least ten notes in length. One example should be in Phrygian, either original or transposed, Begin with a note or two in each veice, then write the cadence in both voices. After this, plot the curves each voice will follow, then fill in the remaining notes.Chapter 5 First Species in Three Voices 5.1 Harmonic Intervals A brief illustration of three-voice counterpoint in first species is given as Example 5-1, the numbers repre- senting harmonic intervals. The analysis is done in four steps. 1, Identify the interval between the two upper voices and write it above the middle voice. 2. IF the upper voices are crossed, indicate this crossing by an X,? 3. Mentify the intervals above the lowest voice and write them below that voice, placing the larger number above the smaller (regardless of which voice it refers to). 4. Reduce compound intervals to simple ones by subtracting an octave. EXAMPLE 5-1 Example 5-2 shows threc illustrations of first species in three voices using a C.P. These are taken from Fux’s Gradus ad Parnassum. The C.F. is placed first in the soprano, then in the alto, and finally in the bass. Analyze these for harmonic intervals in the manner of Example 5-1. DO NOT READ FURTHER UNTIL YOU HAVE DONE THIS.First Species in Three Voices. a EXAMPLE 5-2 a), (b) ) 5.2 Characteristics of First Species in Three Voices You probably noticed some or all of the following observations regarding three-voice counterpoint in frst species.48 First Species in Three Voices Vertical Sonorities A, Vertical sonorities are of two main types: 1, The full chord—three different pitch classes produce the § of the §, that is, a triad in root position or in first inversion. 2. Two different pitch classes are sounded, one voice doubling another at the unison or the octave; various combinations such as 8, 8, 5, etc., are produced. In addition, it is allowed for the initial or the final sonority to have only one pitch class, tripled (see Example 5-2(a), note 11). B. The rule against writing a unison within a phrase does not hold for three-voice counterpoint since there is now ample opportunity for fuller sonority. But all three voices must not sound the same pitch class except as the final sonotity of the first sonority of a phrase. C. You may have noticed that none of the illustrations in Example 5-2 begins or ends with « full chord (§ or §). This result is inevitable. Since each voice begins on 1 or $ of the mode, the initial sonority cannot have more than two pitch classes. (Remember, the lowest voice, unless it begins with a rest, must begin on scale-degree f.) The goal of the cadence, the final sonority, must be led into by stepwise motion in two of the voices: @)7—t and 3-4. The remaining voice may sound a major third above the final, the perfect fifth above the final, or the final itself, D. The penultimate chord is always a full triad. When the two stepwise motions into the final are both in the uppervoices, as in Example 5-2(a), the lowest voice will be on scale-degree 5, producing a$ (the equivalent of a root-position dominant triad, V, in tonal music). When the leading tone is in the lowest voice, as in Example 5-2(b), the third voice will again be on scale-degree 8, producing a $ (labeled gs V® in tonal music). When scale-degree 3 is in the lowest voice the third voice must not sound the 8. Ifitdid, there would bean incorrect perfect fourth with the bass, a chord. Therefore, inthis case the third voice sounds the fourth degree of the scale, producing a § chord (labeled as vii in conal music) as in Example 5-2(c).? In short, the penultimate chord will be either a major triad in root position or a major or diminished triad in first inversion,’ It must not be a diminished triad in root position. These chords are produced automatically by following the rule of stepwise motion into the final through the leading tone in one voice and scale-degree 2 in the other, along with the remaining voice sounding cither the fifth or the fourth degree of the scale. Melodic Curve A. The bass line of the first illustration, Example 5-2(a), tends to lose its melodie quality toward the end. That is, the last four notes, moving by leaps of the perfect fourth and perfect fifth, are there more for the purpose of producing desirable harmony than for the elegance of their melodic curve. (This is also typical of bass lines in tonal music that lead to a root-position V chord in the cadence.) Notice that this does not occur in the other two illustrations, where the bass line leads by step into the final. B. The focal points of each of the voices must be in different places or at least be of different types. Motions A. The rule against parallel fifths applies to parallel perfect fifths but not to unequal fifths. In Example 5-2(c) the dyads above notes 9 and 10 move from a perfect fifth to a diminished fifth. This is perfectly correet, as is the reverse—a diminished fifth to a perfect fifth—although the latter is much lessaa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.10 Counterpoint During the Fourteenth Century iram piant agli’ ochi Francesco Landini Contratenor Tener woes rma’ mn wo se gh 3 - Se noe vo", chin-ra ste) = et dol-ee'a = mo -& Chon Che Counterpoint During the Fourteenth Century wa dus me questa vt nn Counterpoint During the Fourteenth Century Tears pour from my eyes, heavy grief isin my heart my soul is overwhelmed and I die. Because of the bitter, harsh separation, | call on death who does not want to hear me; life goes on against my will, and | must suffer a thousand deaths; but although | live I never want to follow, if you do not wish it, bright star and sweet love. EXERCISE 6.3 Analyze the accompanied song 0 rosa bella (below), which stems from the early fifteenth century. Ithhas been, attributed both to John Dunstable and to John Bedyngham. In addition to the question: raised for Exercise 6.2, you should consider the overall form and tonal organization of the work as well as its motivic aspects. Begin by playing the tenor and cantus alone. O rosa bella Cantus Contatent TenorCounterpoint During the Fourteenth Century Baa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a 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page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Texture, Melody, and Meter 1s Nymphs of the woods. goddesses of the springs. skilled singers of every nation. Change your clear and lofty voices to sharp wails and lamentations, For the molestations of Atropos have sternly trapped your Ockeghem. ‘Music's true treasure and master can from death no more escape And, great pity, lies buried in earth. (1) Don your clothes of mourning: Josquin, Brumel, Pirchon,* Compere, (2.) And weep great tears from your eyes: you have lost your good father. Tenor: Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. Pierre de la Rue (c. 1452-1518).146 Texture, Melody, and Meter Déplerations (laments) on the deaths of famous people were not uncommon during the Renaissance. The poem used by Josquin is a version of an epitaph by the poet Jehan Molinet and was set to music by at least one other composer. It is typical of the Renaissance mind to combine Christian and pagan images. (One thinks of Michelangelo's painting of the Holy Family with nude Greek youths exercising in the background, or the ceiling of the Sistine Chapel with seven Old Testament prophets confronted by five Greek sibyls.) In this piece the Christian aspect of mourning is represented by the tenor, who sings the words of the Introit of the Requiem Mass using the traditional plainsong. This tune was presented as Example 1-13 (page 10). If you turn back and sing it through you will recall that it is in Mode 6 (Hypolydian) and sounds like major mode. In his manuscript Josquin wrote itin Mode 6 but transposed it up a perfect fourth with one flat in the key signature. If sung as notated, then, it would sound in Ionian (or major) mode. Apparently taking an idea from Molinet’s poem (“change your clear and lofty voices to sharp wails”), Josquin writes the following instructions: Canon: ung demi ton plus bas Rule: one semitone loxoer Rather than starting on Bs, the singer must start on A. It is not a matter of transposing each note of the plainsong downa half-step. What Josquin is asking is that the plainsong be sung not in Mode 6 as written, but in Mode 4 (Hypophrygian) transposed up a perfect fourth to begin on A. The new mode distorts the character of the music, changing a major-mode sound to Phrygian: something “clear and lofty” becomes a “wail.” Against this peculiar cantus firmus in the tenor, the other voices sing a French chanson speaking of Ockeghem’s death in images taken ftom Greek mythology—nymphs, goddesses, Atropos (one of the three Fates who cuts the thread of life with her shears). The main part of the piece is over at m. 55, complete with a transposed Phrygian cadence at mm, 51-52: B13 in the tenor moves dewn to A3 while the G4 in the contratenor moves to the A4 an octave higher. The other voices tum this into a deceptive progression and continue with an extension ending in m. 55 with a plagal cadence. The tenor having completed his plainsong introit, the remainder of the picce may be thought of as an epilogue. The music becomes extremely simple, almost homorhythmic, and the sequences of triads in mm. 60-63 are very moving. Josquin’s Déploration for Ockeghem can serve as a reference piece for pointing out some of the char- acteristic details of Renaissance music. Five-Voice Texture The rich sonority made possible by writing for five voices was very much admired during this time and became more and more common in the sixteenth century. The fifth part was called just that: Quinta Pars, or later simply Quintus (Q). Sometimes Q was a second tenor, as in this piece. Ac other times it was a second alto of bass, the voice range being obvious from the clef used for Q. The Canzona Motive Very prominent throughout is the repeated-note motive with a rhythm of a half-note followed by two quarter-notes (see mm. 6-8, 13, 15, 16, 19, 20, 23, 24, 35, 36, 40, 45, 56, and 64). We have come across this motive before, as the head motive of Ockeghem’s chanson Fors seulement (Example 9-4, pages 94-96). Ic even plays a prominent role in O rasa bella (pages 72-74) where it begins the second part (m. 27). We will soon meet it again as the head motive of a chanson in Flemish by Pierre de la Rue. In the sixteenthTexture, Melody, and Meter sar century, this same motive became a standard opening for the French chanson and its Tealian counterpart the canzona, and continued as a stereotype for the instrumental canzona da sonar. One still finds it very frequently in instrumental canzone of the seventeenth century. The Nota Cambiata Another motive that appears frequently in fifteenth-century music is the escape tone leaping down a third, In Example 12-2(a) itis a three-note figure. Example 12-2(b) shows it as a four-note figure. In the four- note version it became a cliché of the sixteenth ceatury, dealt with in a later chapter. During the fifteenth century it could take either the three-note or four-note form. In the Déploration it appears in mm. 38-39 (B imitated by Q) and in mm, 48-50 (Ct imitated by $).! In the later half of the fifteenth century the rhythm is almost always 2 dotted quarter-note followed by an eighth-note (assuming that the modern notation represents the tactus by a half-note). The eighth-note is usually, but not always, dissonant. The note to which it leaps must be consonant. Since the eighteenth century, the four-note version has been known as the nota cambiata (‘changing note”), and the three-note version the ineomplet cambiata, EXAMPLE 12-2 The Falling-Third Anticipation One common melodic fragment that did not become a stereotype in later music is a three-note figure based on the falling third, In the latter half of the sixteenth century, in fact, composers such as Palestrina and Lassus took pains to avoid it (Example 12-3). The middle note, though usually 2 consonance, seems like an anticipation to the thind note. In the Déphration it occurs prominently at the following points: m. 9 (S), m. 31 (S), m. 43 (S, imitated hy Cr), m. 54 (S), and mm. 66-71 (S, B, Q, S, B, with all but the second $ in augmentation). Although this figure was present occasionally in the music of Dufay and Ockeghem (sce Example 9-7, m. 198, Cd), it became almost a trademark with Josquin. In Example 9-12 it appears twice in the soprano (mm, 5~6 and m. 12). In augmentation it becomes the basis for a famous passage in another lament of Josquin, a setting of David’s mouming for his son Absalom (2 Samuel 18: 33). This passage is very reminiscent of the last few measures of the Déploration. It also illustrates an unusual use of partial signatures and a range even lower than that of Ockeghem (Example 12-4), EXAMPLE 12-3 ——148 Texture, Melody, and Meter EXAMPLE 12-4 Absalon, fili mi « be am plo But go down to the place of the dead in tears. Josquin des Prez ‘As we shall see, the anticipation (AN) in sixteenth-century music began to be used exclusively to emphasize the weak half of tactus. Therefore it had to appear during the strong half as shown in Example 12-5, This fact must have had much to do with the disappearance of the motive as illustrated in Example 12-4. EXAMPLE 12-5, AN ANaa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing 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limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Modal Counterpoint in Three Voices. 201 composers ended theit compositions in this manner shows a growing awareness of the strength of the dominant to tonic bass. It may thus be considered a foreshadowing of the practice of tonal composers of the late seventeenth through the nineteenth centuries, Following this final cadence there may be a codetta-like extension. In the case of Phrygian there can, of course, be no question of a dominant to tonic bass. The standard final cadence in Phrygian has 2 in the lowest voice and 1-7-f in an upper voice, often followed by an extension with a plagal cadence. Interior cadences, the endings of phrases within a piece, are written in many different ways. Any of the types shown in Example 16-2 are commonly found. ‘A point mentioned before but that must be stressed again is thig: it is usual for every true cadence to include the cadential suspension occurring between the voice with 1-()9-1 and the voice with 3-1. This means the 2, agprogched by step or descending third, has to be present for at least two beats in order for the voice with 1-(?-1 to form a suspension against it. Thus, in Example 16-2, all cadences have the note ‘AB or Ad as a half-note approached by step or by leap of the third from above. EXAMPLE 16-2 Basic two-part cadence Model three-part cadences 4-3 43Modal Counterpoint in Three Voices. 23 EXAMPLE 16-3, fa) Interior cadence an D (h) Interior cadence an A. decentive fe) Interior cadence an F (f) Final cadence. trancnosed Darian Remarks on Example 16-3 with reference to the questions above: 1. The two cadential voices always produce a 2-3 suspension in themselves if the voice with scale-degree (7 is beneath the voice with 2. A 7-6 suspension is produced if the voice with 2 is below. 2. Since the cadential voices in all these casts are supported by a third voice beneath them on 5, the suspensions will be labeled §. In the case of Example 16-3(c) there is a “six-five chord” suspension (8) with portamento omamentation before the cadence takes place. 3. In Example 16-3(b), the suspension produced by the cadential voices is ornamented with the sixteenth- note figure. 4, Allexcept the last are hocket cadences. The voice with the leading-tone always completes the cadence. Either of the other voices may drop out. 5. Example 16-3(c) is both a hocket and a full-sonosity cadence: § in the lowest vpice drops out and is replaced bya rest, and 3 in the top voice moves to 3 rather than to the expected 1, Example 16-3(c) and (¢) are cadences with continued motion, That is, one or both of the cadential voices continues the line without interruption. 6.228 ‘Modal Counterpoint in Three Voices SELF-TEST 16.1 Fill in the blanks or choose the correct word(s): ‘The Lassus Benedictus includes true cadences found in mm. These cadence on the notes = In the first of these, the standard two-voice cadence occurs in the ___and _voices. ‘The Palestrina Benedictus, discounting mm. 7 and 29-30, includes true cadences. These are found in mm. The cadences in the Palestrina are on the notes . 6. Inthe Palestrina, the standard two-voice cadence appears in the two upper voices innene /all /half of / only one of the cadences. RwNm Having completed the Self-Test, you are now in a position to summarize the cadence types to be found in the two pieces. The summary given is, with the exception of Phrygian cadences, generally true of all music in the sacred style of the Roman school. 1. Final cadence. The two upper voices have scale-degrees 1-9-1 and 3-1, with the $-f in the lowest voice (Lassus: mm, 20-21; Palestrina: mm. 36-37). 2, Interior cadences. Any two voices may act cadentially but the 1-9-2 is far more frequently an upper, rather than the lowest, voice (Lassus: mm. 9-10; Palestrina: mm. 9-10, 18-19, 23-24, 28-29), The 4-7 may appear as an upper voice (Palestrina: mm, 18-19) or lowest voice (Palestrina: mm, 10, 23-24). 3. Full-sonority eadences. In order to bring in the sound of an imperfect consonance, the cadential voice with 2 moves to 3 rather than to 4. Full-sonority cadences are found both as interior and as final cadences. aaa 4. Hocket cadences. Any wice except the one with 1-9-1 may drop out at the last moment (Palestrina: mm. 18-19). Other cadences with rests. In spite of the appearance of rests, a cadence is not considered a hocket cadence unless the rest occurs as a substitute for the last note of the cadence. For example, in the Lassus Benedictus (mm, 9-10) the bass drops out before the upper voices begin their cadence. It re-enters just as the top voice sounds the 7. Consider also the Palestrina (mm. 9-10). Here the soprano voice drops out before the alto and bass begin the cadence. The soprano re-enters just as the cadence is completed. 6. Cadence with continued motion. At lesst one cadential voice completes a phrase. The other voice or voices continue for a time. ‘There isa cadence of this type at mm. 29-30 of the Palesitina. Here the soprano and alto are the cadential voices, but the soprano moves from scale-degree 3 ro 8, producing a fall-sonority cadence. It continues the line into the next measure. 7, Consonant cadence. Neither the Lassus nor the Palestrina ends with a plagal cadence, There is, however, a consonant interior cadence at mm, 11-12 of the Lassus. 8, Pseudo-cadence. This is a “false cadence.” It can be discerned when the music has all the characteristics of a cadence except one esscntial: it is not the cnd of a phrase. Such a situation happens in the Palestrina at m. 7. In this case the initial notes of the motive in one voice are identical to part of a cadential formula, thus causing the likeness. In the Palestrina, the bass enters on the motive E3-E3~A3, the upward perfect fourth supporting the alto’s {~7-1 figure.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.‘The Rise of Tonality in the Seventeenth Century 2s SELF-TEST 18.2 The passage below, taken from another keyboard piece by Sweelinck, has its top voice shorn of many of its nonchordal dissonances. Replace these with the indicated dissonances in such a way that the top line moves in steady eighth-notes. (You will have to consider whether upper or lower neighbors will be preferable in this context.)6 The Rise of Tonalty in the Seventeenth Century SELF-TEST 18.3 Ornament the following suspensions as indicated. In these examples CL indicates a jump down to a consonance. (ay ay rn ° 18.6 Diminutions Composers of instrumental music in the seventeenth century tended to divide beats into smaller note values, the divisions being called di the use of diminutions composers were able to write vibrant active melodic lines eminently suitable for instrumental performance. inutions. In England these diminutions were called divisions. By 1, In Example 18-11, passing notes connect the root and third of a chord (a), or the third and fifth (b); in (c) lower neighbors and passing tones combine in an overall ascending line. EXAMPLE 18-11 (a) (b) ro)‘The Rise of Tonality in the Seventeenth Century an 2. In Example 18-12(a) and (b), a leap between two chord tones is then filled in with a passing tone resulting in either an overall descending or ascending line. In (c) appoggiaturas ornament line that is basically chord tones. EXAMPLE 18-12 3. In Example 18-13(a), (b), and (c), each beat is subdivided into four by means of the CT figure. On a higher level the third note of each CT acts as a P. EXAMPLE 18-13 fa) (my fe 4, In adescending scale passage, accented Ps may appear on the beat (m, 1, beat 2; m, 3 beat 2; m. 4, beat 1). Ifthe scale is ascending, notes on the beat should normally be chordal. Compare Example 18-14(a) with the unpleasant effect of the Example 18-14(b), m. 2 beat 2. EXAMPLE 18-148 The Rise of Tonalty in the Seventeenth Century 5. Escape tones (E) in the lowest voice have a rough effect unless they anticipate a chord tone: see Example 18-15(a). In the top voice the anticipating quality is less necessary: see Example 18-15 (b), from a Toccata (in Dorian mode) by Sweelinck. EXAMPLE 18-15, 6. The use of the incomplete neighbor (IN) is very effective, especially if itis approached and left in opposite directions. In the first measure of Example 18-16, the IN is approached by downward leap and left by upward step. In m. 2 beat 1, the IN is approached by upward leap and left by downward sep. EXAMPLE 18-16 7. Iris important for the fast-paced lines to sound natural and unforced. In Example 18-17(a) there is a “bumpy” effect from running out of notes too soon—the anticipation seems to be an awkward means of supplying another note before the next measure. The solution at (b) is much to be preferred: even though the sixteenth-note motion temporarily ceases, the stepwise move into the next measure sounds very smooth. In (c) we have an aeceptable use of the anticipation,aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Notes 305 Chapter 15 1 Repetition is a means of effecting closure, in poetry as well as music. Many madrigals and motets of the late Renaissance repeat the final section as a means of making a convincing ending, Chapter 17 1 An example is Palestrina’s offertory Exa/tabo te, m. 10 beat one. The piece is included in Soderlund and Scott, Examples of Gregorian Chant and Sacred Music of the 16th Century (Prospect Heights, IL: Waveland, 1996), pp. 202-206. 2 Part Four of the treatise deals with the modes, but mostly in a historical and theoretical way rather than a practical ‘way. In the only chapters of Part Four in which Zarlino gives practical instructions to the composer (chapters 30-32), the modes are relegated to a position of secondary importance. 3 The particular species of double counterpoint involved in Example 17-19 is called double counterpoint at the twelfth, since the opening harmonic interval of a perfect fifth (T on G3, A on D4) becomes, when inverted, 2 perfect octave (B on G3, S on Gi). A perfect fifth added (conjunctly) to a perfect octave results in a perfect twelfth, 4 Gustave Fredric Soderlund and Samuel H. Scott, eds, Examples of Gregorian Chant and Sacred Music of the 16th Century (Prospec: Heights, IL: Waveland, 1996), pp. 247-293 passim; Archibald T. Davison and Willi Apel, eds, Historical Anthology of Music, sev. ed. (Cambridge, MA: Harvard University Press, 1949), No. 140; Kristine Forney, ed., The Norton Scores, 10th ed. (New York: W. W. Norton, 2007), Vol. I, No. 10; Carl Parrish, A Treasury of Early Music: Aa Anthology of Masterworks of the Middle Ages, the Renaiisance, and the Barogue Era (New York: W. W. Norton, 1958), No. 28. Chapter 18 1 tis noteworthy that in this ease the augmented fourth does not expand to a sixth but moves by parallel motion to a perfect fourth at the beginning of the next measure. If the soprano and alto voices were exchanged so that the dissonant interval was a diminished filth this parallel motion would be most unlikely. In other words, the augmented fourth often moves to a perfect fourth rather than toa sixth; the diminished fifth, on the other hand, fifths toa perfect fifth, 2 Johann Philipp Kienberger, The Art of Strit Musical Composition [1771], trans. David Beach and Jurgen Thym, Intro, and notes David Beach (New Haven and London: Yale University Press, 1982) very rarely moves by parallel motion of unequ Epilogue 1 The human mind hasa bias toward creating relationships even from unlikely sources. Ifa composer should make a piece from « iron and a Bach cello suite, the listener would probably infer that a statement of some kind was the siren pethaps representing disaster in the real world (air raid, police, ambulance, fire) and the in oblivious isolation, Nero fiddling while Rome burns. But would bea counterpoint based on eatramusical referents, nota genuine musical relationship between the owo lines.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Index of Rules for Modal Counterpcint 315 ‘modes 180-181 single syle 178 modes, ambiguityin 210-211 sixcfive chord 251, 254 motion, descending 184 Sia-five-three chord 251 motive 212 sinteenth-notes 175, 177, 184 tnulislabie word 178 subject 260 ‘musica feta 190-191, 250 subject, double 262-263, suspension in diminution 198-199 N Gee ncightoe) suspension with ornamented resolation 199, 210, nadir 191 Suspension, preparation 197 NC (cee nota cambiata) ‘suspensions tn four voices 250-254 neighbor, lower 183-184 suspensions in two voices 196-197 hbor, upper 184 suspensions, double 252-253 neighbor, upper and lower 197 syllable, accent 178 nonimitative counceepoint 244, 282 Spllable, beginning of 178-179 nota cambiat 183, 189, 198-199 syllable, change 178, 180 notes, repeated 177, 179-18), 183 syllable, extension of 179-180 borne fed 175 Syllable ast of text 179 syllable, single 178 offkeat 177 syncope 173, 177 ‘opening phrase 201-202 indiminution 184 formimented resolution 199 produced by doted quarter 182 overlapping phrases 244 tempo 264-265, peited entries 261 tendency notes 249 paits of eighth-notes isolated 177 text, last syllable 179 pasing tone 183, 195-196, 264 text, eepeatec 212, 44 peraninet thsin 23 text painting 194, 212 phnise, opening 201-202 text setting, panciple of 193 phase inter 22-203, 211-12 text underlay 179-180 yhnygian cadence 200-201, 210 texture, homophonic 246, 259, 263-264 ss final eadence 258-259 tied notes 175 pitch accents 189, 197 ‘transposition of modes 180-181, 204 pagal cadence 208 triple counterpoint 263 portamento figure 179-180, 189 triple mete, fost 263-264 preparation for suspension 197 moderate 255 tritone 190-191 repeated notes 177, 179-180, 183 true cadence 199-201 repeated words 213, 244 rest 211 upper neighbors leading to scope 197 ‘ont begin on strong beats 177, 185, 211 fhyibm, not sigid 172-173 weak beat heginnings 203 thythm, complementary 202 word accent 180 ritardando, built-in 204, 259 word painting (etext painting) words, repeated 212, 244 seventh chord 251 single eighth notes 175, 177, 182-184 enith 191-192Index of Musical Examples Complete pieces or movements only Adam de a Helle: Tant son je wir (rondess) 31 Anon. Alle, palte 26-27 Anon Marin za (Facsimile, 1567) 150-151 Anon: Oriente paribus 29 Anon Rex eae, Domine (organum) 24 Anon. Talent mest pris canon wth hocket) 59-60 Diafiv: Je require a toms smourenx Geondent) 89 Dufay: Sel face ay pale (chanson) 91-93 Diafay: Missa Sela face ey pale (Kyrie) 99-100 Dunstable: textless moter 67-68 Dunstable (°): O rosa bella 72-74 Guillaume de Machaut: Rose, lis (ondeau) 55-55 Jooguin des Prez: Missa L'Hlomme armé (Agnus) 12-113 Jonjuin dee Pres Déplortion aur Teipue de Jean Ockoghem (Nymphs des oir) 141-145 Landini: Gram piant’ agli ochi 70-71 LCassus: Just tulerunt spolia (Cantiones duarum vocum, no. 7) 212-213, Lassus: Missa pro defunctis (Benedietus) 214-215 Lassus: Ocilus non siit (Cansiones duaram vactim, no. 3) 209-210 ckeghem: Fors seulement (chanson) 94-96 ckeghem: Missa Fors seulement (Kyrie) 102-103 ckeghem: Missa profationum (Osanna) 115-116 Palestrina: Dies saneciificatus (cantun part onl) 192-193, Palestrina: Pars mea Dominus 241-242 Palestrina: Missa de iri, third book (Benedictus) 216-219 Palestrina: Missa Papae Marcel (fiom Credo) 245-245, Schlicks Maria zare (lute song) 152-153, Slick: Maria zat (organ setng) 158-160 ‘Tallis: If ye love me 162-164 Victorias Magnificat Tertt Toni (Er misricondia) 227-229 Victoria: O vos omnes 247-249 ‘Walter: Ein’ fese Burg (ticinium) 156-157 ‘Walter: Komm, Gott Schipfer (chorale motet) 160-162