2. Chapter 8 Voice leading in two voices

3. Voice leading Term used to describe the linear aspect of musical writing. Term used to describe the linear aspect of musical writing.

4. Species counterpoint An approach to vocal counterpoint through the addition of contrapuntal voices to a given melody (cantus firmus). An approach to vocal counterpoint through the addition of contrapuntal voices to a given melody (cantus firmus).

5. Species Counterpoint Used during the Renaissance Used during the Renaissance JJ Fux wrote book Gradus ad Parnassum based on the music of Palestrina JJ Fux wrote book Gradus ad Parnassum based on the music of Palestrina

6. Types of species counterpoint First species 1 to 1 First species 1 to 1 Second species 2 to 1 Second species 2 to 1 Third species 4 to 1 Third species 4 to 1 Fourth species Ligature (using ties) Fourth species Ligature (using ties) Fifth species - florid (combination of all other species) Fifth species - florid (combination of all other species)

7. Cantus firmus Fixed melody Fixed melody One phrase in length One phrase in length Terminated by a melodic cadence Terminated by a melodic cadence Serves as basis for other independent but related contrapuntal melodies Serves as basis for other independent but related contrapuntal melodies

8. Modes Dorian Dorian Phrygian Phrygian Lydian Lydian Mixolydian Mixolydian Later Aeolian and Ionian modes Later Aeolian and Ionian modes

9. Motion types between voices Parallel Parallel Contrary Contrary Oblique Oblique Similar Similar

10. Summary of principles of first species counterpoint Stepwise motion prevails Stepwise motion prevails A melody usually rises to a climax tone,then falls back in a descent. A melody usually rises to a climax tone,then falls back in a descent. Avoid two successive skips unless they outline a triad Avoid two successive skips unless they outline a triad Avoid melodic skips of a 7th and all diminished and augmented intervals. Avoid melodic skips of a 7th and all diminished and augmented intervals. Avoid melodic range of more than a tenth Avoid melodic range of more than a tenth

11. Avoid repeated melodic figures or sequences Avoid repeated melodic figures or sequences Avoid segments that outline a tritone Avoid segments that outline a tritone Begin a counterpoint above the c.f. with 5 th or octave. Below with a unison or 8th. Begin a counterpoint above the c.f. with 5 th or octave. Below with a unison or 8th. Approach final by half step in one of the voices and whole step in other. Approach final by half step in one of the voices and whole step in other. Keep a sharped note at least three measures away from its natural equivalent. Keep a sharped note at least three measures away from its natural equivalent. Tie whole notes may be used no more than twice per exercise. Tie whole notes may be used no more than twice per exercise.

12. Guidelines related to the relationships between voices M3,m3,P5,m6,M10,and m10 are the only allowable vertical intervals except for the beginning and ending of the exercise. M3,m3,P5,m6,M10,and m10 are the only allowable vertical intervals except for the beginning and ending of the exercise. Parallel 8,5,and 1 are forbidden. Restrict parallel 3rds and 6ths to no more than 3. Parallel 8,5,and 1 are forbidden. Restrict parallel 3rds and 6ths to no more than 3. Avoid hidden fifths or octaves except for occasional horn fifths. Avoid hidden fifths or octaves except for occasional horn fifths.

13. Hidden fifths/octave A fifth or octave that is reached not in parallel but in similar motion is referred to as a hidden (covered) fifth or octave. This kind of voice- leading is usually admissible in four part writing except for certain extreme cases when large intervals are involved in both voices. A fifth or octave that is reached not in parallel but in similar motion is referred to as a hidden (covered) fifth or octave. This kind of voice- leading is usually admissible in four part writing except for certain extreme cases when large intervals are involved in both voices. Horn fifths are common and entirely legitimate because they display the characteristic writing for natural horns. Horn fifths are common and entirely legitimate because they display the characteristic writing for natural horns.

14. http://www.odu.edu/al/wbartolo/mod25.htm l http://www.odu.edu/al/wbartolo/mod25.htm l http://www.odu.edu/al/wbartolo/mod25.htm l http://www.odu.edu/al/wbartolo/mod25.htm l