Counterpoint Flashcards
(12 cards)
What is First Species counterpoint, and how is it structured???
In first-species counterpoint , a new melody in a whole notes is composed against a cantus firmus(CF), where both melodies move at the same rhythmic pace (1;1 ratio). Only consonant intervals are allowed between the two voices, focusing on creating a simple and harmonically stable relationship.
What are the allowd consoant intervals in first species counterpoint, and how are they categorized?
consonants intervals in first-species counterpoint are:
Perfect consonances: perfect fifths, perfect octaves, and unisons
Imperfect consoannces: Majorand minor thirds, ans major and minor sixths.
How should perfect consonances )such as fifths and ocaves) be approached in first-species counterpoint? Why?
Perfect consonances must be apporached by contrary motion (one voice moves up, the other mives down) or oblique motion ( one stay the same note while the other moves). This ensures that the voice remain indepndent , avoiding parallele or similar motion, which would make the voices less distinct
What interval motions are strictlu forbidden in first- species counterpoint, and what is the reason for this?
Parallel fifths and parallel octave: These are avoided because they reduce the independence of the oices, making the texture sound less contrapuntal.
Similar fifths and similar octaves: These are also prohibited when both voices move in the same direction into a fifth or octave, as it creares and sense of parallelism, which weakens the counterpoint independence.
What rhythmic structure is used in first-species counterpoint, and how does it relate to the cantus firmus?
Both the cantus firmus and the counterpoint are writtn in whole notes (1:1 rhythm). This means that for each note in the cantus firmus, there is exactly one note in the counterpoint, creating a steady and equal rhytmu relationship between the two voices.
Where should the counterpoint typically begin and end in the relation to the cantus firmus, and why is this important?
The counterpoint usually :
- starts on the tonic or dominant (1or5), typically an octave or a fifth above the cantus firmus
- Ends with a stepwise motion from scale degree 7 ti 8 (7-8), creating a strong cadence. In minor keys, the 7th is raised (leading tone) to ensure a smooth resolution to the tonic.
This practise is crucial to establish harmonic stability and a clear tonal framework.
What is the role of a melodic climax in the counterpoint, and what note should not be used as the climax?
The melody of the counterpoint should have a single melodic high point (climax), ehich helps provide structure and direction to the line. The climax shoudl not be the leading tone (scale degree 7) because it usually resolves to the tonic and is unastable when used as a climax.
What are the rules regarding the use of leaps in the counterpoint melody and what is necessary after a leap?
-leaps ( larger melodic intervals) are allowed in first-species counterpoint but must follow these guidelines:
- leaps of a third, fourth, fifth or octave are permissible
After a leap, the melody should resolve by stepwise motion (step in the opposite direction of the leap) to balance the melody and prevent it from sounding too disjointed.
How can imperfect consonances (third and sixths) be approached in first-species counterpoint, and what types of motion are allowed?
contrary motion (voice move in opposite direction
similar motion ( voices move in the same direction but by different intervals)
oblique motion (one voice on the same direction byt the same interval).
Imperfect consonances are more flexible because they do not create the same harmonic rigidity as perfect consonances.
How do you handle dissonant intervals in first species counterpoint, and what adjustments are needed for minor keys?
in first-species counterpoint, dissonant intervals such as seconds, diminished fifths, and augmented fourths are strictly forbidden. In minor keys, to avoid dissonant intervals like the augmented second between the 6th and 7th scale degrees, the 6th and 7th degrees are raised (i.e., use the melodic minor scale), especially when approaching the cadence.
What is the rule regarding chromatic semitones in first-species counterpoint, and why are they problematic?
Chromatic scales (e.g., B to B flat) are forbidden in first-species counterpoint because they create awkward, non-diatonic motion that can result in harmonic instability. The counterpoint should remain diatonic within the given key signature.
Why is voice crossing prohibited in first-species counterpoint, and how does it affect independence of the voices?
Voice crossing (where the counterpoint voice goes below the cantus firmus or vice versa) is prohibited because it blurs the distinction between the two voiced, reducing their indepence. Each voice should remain clearly above or below the other thoughout the exercise.
