![]() ![]() Contrapunctus v.1.0 can help students and scholars to recognize the Baroque polyphonic flavour of Fux's Gradus, the more approximately Renaissance style of Jeppesen, or the Schenkerian technique of Salzer, in species counterpoint examples. It has an easy-to-use graphic interface that produces an annotated score, and plays the music. This application is programmed in the Java programming language and runs on operating systems that support the Java Runtime Environment JRE. From the examples generated or analyzed with this software, it is possible to recognize intrinsic stylistic differences among the rules of different authors. For example, a major chord build on scale degree 1 would. The Roman Numeral is upper case if the chord is major or augmented and lower case if the chord is minor or diminished. The scale degree of the root of a chord is listed using a Roman Numeral. Contrapunctus v.1.0 is a computer program based on the code of Schottstaedt´s Automatic Species Counterpoint, that can generate, or analyze examples given in any of the five Fuxian species with up to four voices in six major/minor diatonic modes, based on the rules of Fux, Jeppesen or Salzer. Roman Numerals are symbols used to label chords based on their scale degree positions in a key. Each chord in a key has its own level of status, behavior, and stability. On the other hand, and somewhat paradoxically, Schenkerian theorists eventually found in Fux´s methodology a tool for describing style-free general voice-leading principles. Functional harmony in tonal music centers around the idea that tonic serves as the home base in a key and chords built on each scale degree in the scale have predictable relationships with each other and predictable movements as they ultimately progress towards tonic. However, musicologists of the 20 th century showed that Fux had limited knowledge about the style of Palestrina, and his work was influenced more by the compositional practices of the 18 th century than by the music of Palestrina. In the example below, instead of cadencing in bar 8, Mozart extends the end of the b section to cadence in bar 10.In 1725, Johann Joseph Fux published Gradus ad Parnassum aiming to educate young Baroque musicians of his time in polyphonic Renaissance composition, particularly in the style of Palestrina. Usually, the second or consequent phrase is extended, either in the middle or end. Phrases in a period can use sentence form as part of their phrase structure.Ī phrases or period in which the phrases are not equal in length is called an asymmetrical. ![]() The two phrases start the same way melodically and harmonically: a a’Ī contrasting period is a period with a consequent that starts with different material from the antecedent: a b Parallel PeriodĪ parallel period is a period in which each phrase presents the same or similar melodic material. While the interdependent harmonic relationship and cadence structure define a period, periods can also be classified by the relationship of their melodic material. We call the first phrase the antecedent, and the second phrase the consequent. The first phrase’s cadence is progressive and needs to move on to the second phrase, while and the second phrase’s cadence is stronger and more conclusive. Complete a third species counterpoint below the given melody. Note: you should compose sixteenth notes against quarters, and vice versa. Complete a third species counterpoint above the given melody. Find three errors in the following third species counterpoint. ![]() The pair of phrases are harmonically dependent on each other. 9.3 Third Species Counterpoint: Theory exercises Exercise 1. Imperfect consonances (3rds and 6ths) can be approached in any manner. Dissonances (2nds, 4ths, 7ths) are not allowed in first species counterpoint. 8.2 Sentences and Periods: Tutorial PeriodĪ period consists of a pair of phrases that combine to form a bigger, more coherent whole. Create consonant harmonic intervals in each measure (unisons, 3rds, 5ths, 6ths, and their compound versions10ths, 12ths, 13ths, etc.). ![]()
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