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Music Theory III (Kreeger) Chapter 2: Harnessing Space & Time: Introduction To Melody and Two-Voice Counterpoint

This document provides an overview of melody writing guidelines and two-voice counterpoint. It discusses characteristics of well-written melodies such as beginning and ending on stable pitches and limiting range and leaps. It also covers the basics of counterpoint, including Fux's method of five species that introduce ways for an added voice to interact with a cantus firmus through consonant and dissonant intervals and different types of melodic motion. Rules for first and second species counterpoint are outlined, restricting certain intervals, requiring contrary motion in specific cases, and guidelines for beginning and ending the counterpoint line.

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Mark Dagley
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93 views4 pages

Music Theory III (Kreeger) Chapter 2: Harnessing Space & Time: Introduction To Melody and Two-Voice Counterpoint

This document provides an overview of melody writing guidelines and two-voice counterpoint. It discusses characteristics of well-written melodies such as beginning and ending on stable pitches and limiting range and leaps. It also covers the basics of counterpoint, including Fux's method of five species that introduce ways for an added voice to interact with a cantus firmus through consonant and dissonant intervals and different types of melodic motion. Rules for first and second species counterpoint are outlined, restricting certain intervals, requiring contrary motion in specific cases, and guidelines for beginning and ending the counterpoint line.

Uploaded by

Mark Dagley
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Music Theory III (Kreeger)

Chapter 2: Harnessing Space & Time: Introduction to Melody


and Two-Voice Counterpoint

Melody: Characteristics and Writing


Guidelines for Writing Melodies
1. Begin melody on a member of the triad (1, 3 or 5) and end it with a two-pitch pattern (2à1
or 7à1)
2. Limit range—no larger than a tenth overall, and avoid leaps larger than a sixth. Try to move
primarily by step.
3. If you do leap, try to limit them to smaller skips (i. e., thirds). No dissonant leaps (i. e.,
tritones) See Laitz textbook Ex. 2.12, p. 93.

4. Leading tone (7) must resolve to Tonic (1)


5. Modify direction for the sake of variety. The contour should not primarily be in one
direction (up, down, or static). Provide a single melodic climax.
6. Avoid repetition/sequences.

Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint


Counterpoint—the relationship between and movement of two or more voices. It has been studied
in Western music since the tenth century.

Treatise: Johann Fux—Gradus ad Parnassum

Fux’s Method
A series of five steps—or species—that show different ways for an added voice to interact with the
Cantus Firmus (CF).

First Species Counterpoint

1:1 note relationship

When combining two voices, one must consider not only the intervallic movement within an
individual voice, but also intervals formed between the two voices. (horizontal vs. vertical)

1
Consonant harmonic intervals (P8, P5, Maj/min 3rds, Maj/min 6ths, and P1) are the only intervals
permitted in first species counterpoint.

NOTE: The P4 is considered unstable and dissonant.

Contrapuntal Motions
See Laitz textbook Ex. 2.9, p. 91

Types:
1) Contrary—voices move in opposite direction. Reduces chance of error by promoting independence
between voices.
2) Similar—voices that move in the same general direction, but at different distances.
3) Parallel—voices that move in the same direction and maintain the same generic interval. It can
sound beautiful, but is restrictive. Parallel motion should be limited to a maximum of three
consecutive uses (6-6-6 or 3-3-3) to avoid monotony.

Perfect Intervals
Moving directly from one Perfect interval between the CF and the counterpoint voice to another
Perfect interval of the same size is forbidden. See Laitz textbook Ex. 2.10, p. 91.

Direct (Hidden) Intervals


One must be careful approaching Perfect consonances. You may not approach a Perfect
consonance by similar motion. They give the impression of parallels because the ear tends to fill in
the intervening intervals. See Laitz textbook, Ex. 2.11, p. 92.

Beginning and Ending First Species Counterpoint


The contrapuntal voice must begin on 1 (Tonic).

If the contrapuntal voice occurs above the CF, you may begin on 5 (Dominant).

Your counterpoint must end on an octave or unison.

2
The penultimate (next-to-last) measure must contain 2 (Supertonic) and 7 (Leading Tone) which
move in contrary motion to the octave on 1.

Rules and Guidelines for First Species Counterpoint


1. Harmonic (vertical) intervals must be consonant (No P4)
2. Parallel Unisons, 5ths, and 8ves are forbidden.
3. Approach perfect consonances using contrary motion.
4. Begin and end counterpoint on the Tonic, unless the contrapuntal voice is above the CF, in which
case, starting on 5 (Dominant) is permitted.
5. In minor, use lowered form of 6 (Submediant) and 7 (Leading Tone). Raise 7 to create the Leading
Tone only in the penultimate measure.

Second Species Counterpoint

2:1 note relationship

Because there are two notes in the contrapuntal voice for ever 1 CF note, there is a strong-weak beat
setup.

The downbeat must be consonant, and successive downbeats must not contain parallel fifths of
octaves. The weak beat, however, may be consonant or dissonant.

Weak-Beat Consonance
You may move to a weak-beat consonance by step, skip, or leap. However, there is only one way to
create a consonant step motion by moving from a fifth to a sixth, or a sixth to a fifth. This is called
5-6 technique.

The majority of leaps should occur within, rather than between measures. This is because leaps draw
attention to themselves; when they occur on an accented beat, they detract from the flow of the line.

Weak-Beat Dissonance
Unaccented passing tones allow controlled dissonance.

3
More on Perfect Consonances
Avoid parallel and direct intervals on weak beats.

Beginning and Ending Second Species Counterpoint


Begin on 1 (Tonic). If the contrapuntal voice is above the CF, it may be 1, 3, or 5. You may also
begin on a rest. The last measure must be a whole note on 1. The penultimate measure may be either
a whole note or two half notes.

Rules and Guidelines for Second Species Counterpoint


1. Strong beats must be consonant.
2. Avoid parallel perfect intervals between downbeats and weak beats and strong beats.
3. Avoid direct motion to Perfect intervals from weak to strong beats.
4. The only permitted dissonance is the passing tone.
5. The added voice must begin on 1, or if the counterpoint is above the CF, it may begin on 1, 3, or 5.
You may also begin on a half rest.
6. In minor, use the lowered form of 6 and 7. Raise 7 on the penultimate measure to create the Leading
Tone.

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