Counterpoint Notes

May 15th, 2015
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Important element is that they respective shapes are dissimilar to each other If two voices move in parallel octaves, the ear tends to hear that a voice has dropped out and the feeling of counterpoint is lost. Avoid parallel octaves, fifths and unisons

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titleCounterpoint NotesCounterpoint- point against pointWhat makes a good melodic line?The contourPivotDifferent melodic directionsA sense of motion and progression Importance of notes?Where they lieHigh or lowWhere they are placedEmphasize a particular noteHarmonic implicationsObviousResolving non-harmonic tones (pg 14)Non-harmonic tones should be resolved if introduced.Two large leaps in the same direction should be avoidedAfter a leap, it is best to have the melody turn in the opposite direction The faster the movement of the notes involved and the wider the leap, the more objectionable is this step leap successionAbrupt halts in the rhythmic motion are to be avoided.The arrangement of having a motion on a weak beat is more preferable.Principles of Two-voice Counterpoint1. Each line must be good in itself2. There must be sufficient dependence between the voices in terms of direction and rhythmic motion 3. (continue on pg 19)Independence between the linesRhythmically the two voices in Example one exhibit a fair degree of independence.Important element is that they respective shapes are dissimilar to each other If two voices move in parallel octaves, the ear tends to hear that a voice has dropped out and the feeling of counterpoint is lost. Avoid parallel octaves, fifths and unisonsUnityVoices must have enough in common, is chiefly a matter of stylistic unity. Voices must not be too divergent from each other in terms of values and rhythmic

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