MUS 316 - 16th-Century Counterpoint (2)
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A practical approach to sixteenth-century counterpoint - Robert Gauldin - Google книги
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Bersano-Begey 1 1. Personalised recommendations. While Fux notates both the cantus firmus and counterpoint in whole notes for first species, we will use the same duration in both voices, but will follow the eighteenth-century practice of using half, quarter, eight, or sixteenth durations in note-against-note contexts.
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After the Renaissance, the principles of tonal harmony influenced phrase endings; scale-degree became much more common as the bass note in the next-to-last position. WebFacts 5 Species counterpoint does not address the possibility of closing a phrase on anything other than the pitch with which the cantus firmus began. However, eighteenth-century tonal music typically uses a different pitch as a nonfinal phrase ending.
MUSI 4202 (2-2-0) Sixteenth-Century Counterpoint
We will learn more about the types of tonal phrase endings, or cadences , in Chapter WebFacts 6 Fux's second-species rules differ from ours in the following ways: 1 he does not allow neighbor tones, 2 the exercises are notated with whole notes in one part and half notes in the other, and 3 he requires modal cadences. The two-measure cadences may be written using whole notes as in first species, or they may have a consonance on the first half of the penultimate measure, then the , 3-unison, or cadence patterns from first species connecting the last half note to the final measure.
Some other strict species methods allow the consonant neighbor in second species or but not the dissonant neighbor.