A BEGINNER'S GUIDE TO CREATING IMITATIONS AT THE FIFTH IN TWO AND THREE VOICES CREATED BY PETER SCHUBERT & ELAM ROTEM FOR EARLY MUSIC SOURCES.COM MAY 2021RULES FOR IMITATIONS IN TWO VOICES AT THE FIFTH BELOW AT THE FIFTH ABOVE age rae LENDER dex (Ga > uwson FOLLOWER/comes oS wer ws ABH Ce ay FOLLOWER/comes LEADER/duex > uNsoN e o we Tu NOTE: TO PREVENT ARRIVING AT AN OCTAVE IN THE SAME DIRECTION, AVOID TAKING A BIG INTERVAL AFTER A SMALL ONE IN THE SAME DIRECTION. MAKING A CADENCE MAKING A CADENCE AT THE FIFTH BELOW AT THE FIFTH ABOVE LEADER/ dr FOLLOWER/ comes FOLLOWER/ comes LEADER/ duc NEARING HS, TH FOLLOWER SHOULD MAKE A TENOAZANS (DESCENO OE STEPL HEARING TS, THE FOLLOWER SHOULD MAKE ATENORZANS DESCEND NE STEP, [NOTE: TO PRESERVE A MAJOR SIXTH (OR A MINOR THIRD) BETWEEN THE PARTS AT THE CADENCE, USE MUSICA FICTA (SHARPS OR FLATS), IF NEEDED. [EXAMPLES -ATTHEFFTH BELOW [EXAMPLES-ATTHEFIFTHABOVE o sae aso er as: a!ADDING ORNAMENTS YOU CAN FILL IN THIRDS OR FOURTHS WITH PASSING TONES, AND YOU CAN ADD DISSONANT LOWER AND UPPER NEIGHBORS ON WEAK QUARTER NOTES. SINCE YOU CAN GO TO ANY OF FIVE NOTES FROM ONE MEASURE TO ANOTHER, YOU CAN GO TO TWO OF THEM WITHIN ONE MEASURE. ‘THE NOTE THAT FOLLOWS THEM, HOWEVER, MUST MAKE A LEGAL MOVEMENT FROM BOTH OF THE PRECEDING NOTES (see ciRcLES). ‘TIP: INSTEAD OF DESCENDING A MAJOR THIRD YOU MAY ASCEND A MINOR SIXTH (SEE +). ORNAMENTED VERSIONS OF THE SIX EXAMPLES ON THE PRECEDING PAGE: [EXAMPLES- A THEFT BELOW [EXAMPLES- AT THE FIFTH ABOVE Gert ele epee) (G21 Tee el ere Te EXAMPLES OF EMBELLISHED IMITATIONS BY FRANCISCO DE MONTANOS arte e musica ieonica yprarica 1692 NOTE: THERE EI OTHER FORMULAS FR DEVITING FROM THE STRICT RULES GIVEN ABOVE, THAT DEPEND ON PLANING THE MEASURE AFTER THE SKIPCFR EXAMPLE SEE BELOW bocce eee 8B nn net een je SSS eS ge SS ee GS Rieter rele 6s SS Sas ea SSSRULES FOR IMITATIONS IN THREE VOICES AN IMITATION OF THREE VOICES IS ESSENTIALLY AN IMITATION OF TWO VOICES AT THE FIFTH ABOVE OR BELOW WITH AN ADDITIONAL THIRD VOICE. THE TWO OUTER VOICES ARE ALWAYS AN OCTAVE APART. ITIS POSSIBLE TO START WITH EITHER THE HIGHEST, MIDDLE, OR LOW VOICES, BUT THE MIDDLE VOICE MAY NEVER BE SECOND. THUS, THERE ARE FOUR POSSIBILITIES: FOLLOW THE RULES FOR TWO-VOICE IMITATION AT THE FIFTH ABOVE m, FOLLOW THE RULES FOR TWO-VOICE IMITATION AT THE FIFTH BELOW 1 ae PUNISON a LEADER @e LEADER wv 0. 6 == LEADER ae >unsou LEADER ° se ue THE DIFFERENCES BETWEEN TWO- AND THREE-VOICE IMITATIONS ARE THESE: ~ THE LEAD VOICE MAY NEVER MOVE A 2"°, ~ THE LEAD VOICE MAY NEVER MOVE MORE THAN TWO THIRDS IN A ROW. ~ IN VARIANT IV YOU MAY NEVER SING THE SAME NOTE THREE TIMES IN A ROW.MAKING CADENCES IN THREE VOICES SUGGESTED FORMULAS ‘AFTER FALLING A THIRD, RISE A STEP, AND THEN RISE A THIRD ON THE OFFBEAT AND MAKE A CANTIZANS, HEARING THIS, THE VOICE THAT ENTERS SECOND SHOULD RISE A STEP AND THEN MAKE A TENORIZANS (DESCEND ONE STEP). THE THIRD VOICE SHOULD RISE A STEP AND THEN DESCEND A STEP. AFTER FALLING A THIRD, FALL ANOTHER THIRD, THEN RISE A THIRD ON THE OFFBEAT AND MAKE A CANTIZANS. HEARING THIS, THE VOICE THAT ENTERS SECOND SHOULD RISE A STEP AND MAKE A TENORIZANS (DESCEND ONE STEP), THE THIRD VOICE SHOULD DESCEND A THIRD AND THEN DESCEND A STEP. ‘AFTER RISING A THIRD, DESCEND A STEP, AND THEN RISE ATHIRD ON THE OFFBEAT AND MAKE A CANTIZANS, UL HEARING THIS, THE VOICE THAT ENTERS SECOND SHOULD DESCEND A STEP AND THEN MAKE A TENORIZANS (DE- ‘SCEND ONE STEP). THE THIRD VOICE SHOULD DESCEND A FOURTH AND THEN MAKE A BASSIZANS (ASCEND A FOURTH). AFTER RISING A THIRD, DESCEND A FOURTH, THEN ASCEND A FOURTH ON THE OFFBEAT AND MAKE A CANTIZANS. Vv. HEARING THIS, THE VOICE THAT ENTERS SECOND SHOULD RISE A THIRD, DESCEND A FOURTH AND AND THEN MAKE A BASSIZANS (ASCEND A FOURTH). THE THIRD VOICE SHOULD DESCEND A STEP AND THEN MAKE A TENORI- TANS (DESCEND ONE STEP). NOTE: AS IN TWO-VOICE CADENCES, ALSO HERE MUSICA FICTA MIGHT BE NECESSARY TO PRESERVE THE MAJOR 6TH (OR MINOR 3RD). IN ADDITION, IT MIGHT BE NEEDED IN ORDER TO ENSURE A MAJOR THIRD ON THE FINAL CHORDS.EXAMPLES BASED ON THE FOUR ENTRY SCHEMESHISTORICAL EXAMPLE | TOMAS DE SANTA MARIA, ARTE DE TANER FANTASIA 1565, PART Il, CA. 33, F68R [BASED ON ENTRY SCHEME V1 “* INTHETWO-VOOE RULES WE SAIDIT WAS SAFE TO AVOID SINGING A BIN A STRONG POSITION IN CANON AT THE FTA ABOVE. HERE SANTA MARIA HAS ABN STRONG POSITION, AND TH SHOULD BE TRANSLATED TD F-SHARP IV THE SECOND VOICE. HOWEVER, SINCE HES NOT USING AN EXACT TRANSPOSITION HE USES F-WATURAL IN THE WATATONHISTORICAL EXAMPLE Il GIOSEFFO ZARLINO, LE STITUTION HARMONICHE 1573, P.316 Doppia Consequenza alla Diapason grave & alla Diapente acuta dopo una pausa de Semibreve [BASED ON ENTRY SCHEME NV] “HERE ZARLINO USES ONE BIN STRONG POSTTON SINCE TS NOT APPROACHED Of LEFT BY A FOURTH OR FTA THERES NORSK OF ACCUMULATING SHARPS, HE ODES NOT \WRITEQUT ALL THREE PARTS AS SANTA NABI DD AND SO ONE MAY WONDER WHETHER THE WDDLE VOICE SHOULD SING AN F-SHARP WM. 22.FURTHER READING: Butler, Gregory G. “The Fantasia as Musical Image.” The Musical Quarterly 60/4 (1974): 602-615. Collins, Denis. “Zarlino and Berardi as Teachers of Canon.” Theoria 7 (1993): 103-123 Cumming, Julie E. “Renaissance Improvisation and Musicology.” Music Theory Online 19/2 (2013). Cumming, Julie E. and Peter Schubert. “The Origins of Pervasive Imitation.” The Cambridge History of Fifteenth-Century Music. Edited by Anna Maria Busse Berger and Jesse Rodin. (Cambridge: Cambridge University Press, 2015): 200-228. Milsom, John. “Josquin des Prez and the Combinative Impulse.” The Motet around 1500. Edited by Thomas Schmidt-Beste. (Turnhot repols, 2012): 211-246. Schubert, Peter. Modal Counterpoint, Renaissance Style (New York: Oxford University Press, 1999; 2nd edition, 2008). Created by Peter Schubert and Elam Rotem for Early Music Sources.com Special thanks to Catherine Motuz May 2021