title: species counterpoint speaker: scott blasco created

Title: Species Counterpoint Speaker: Scott Blasco Created by: Scott Blasco

online.wsu.edu

MUS 550: Analytical Techniques

Lesson 2: Species Counterpoint

• First-species (1:1) counterpoint

• Second-species (2:1) counterpoint

• Dissonance and metric hierarchy

I: Species counterpoint

I: Species counterpoint

fifth

fourth

third

second

first

cantus firmus

I: Species counterpoint

fifth

fourth

third

second

first

cantus firmus

I: Species counterpoint

fifth

fourth

third

second

first

cantus firmus

I: Species counterpoint

fifth

fourth

third

second

first

cantus firmus

I: Species counterpoint

fifth

fourth

third

second

first

cantus firmus

I: Species counterpoint

fifth

fourth

third

second

first

cantus firmus

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

NO parallel perfect intervals

I: Species counterpoint: first species

NO parallel perfect intervals

NO direct perfect intervals

I: Species counterpoint: first species

Parallel Similar Contrary

TYPES OF MOTION:

I: Species counterpoint: first species

Parallel Similar Contrary

TYPES OF MOTION:

I: Species counterpoint: first species

Parallel Similar Contrary

TYPES OF MOTION:

P5 to P5

6 to P8, upper leap

6 to P5, upper step

I: Species counterpoint: first species

Parallel Similar Contrary

TYPES OF MOTION:

P5 to P5

6 to P8, upper leap

6 to P5, upper step

6 to P8

I: Species counterpoint: first species

Parallel Similar Contrary

TYPES OF MOTION:

P5 to P5

6 to P8, upper leap

6 to P5, upper step

6 to P8

Oblique

I: Species counterpoint: first species

Parallel Similar Contrary

TYPES OF MOTION:

P5 to P5

6 to P8, upper leap

6 to P5, upper step

6 to P8

Oblique

P5 to P5

“hidden” parallelism

P8 to P8

I: Species counterpoint: first species

I: Species counterpoint: first species

P5 to P5 P8 to P8 P5 to P5 6 to P8

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

La Ti Do

I: Species counterpoint: first species

I: Species counterpoint: first species

Law of Recovery After leaps larger than a 3rd, step in the opposite direction

I: Species counterpoint: first species

La Ti Do Law of Recovery

After leaps larger than a 3rd, step in the opposite direction

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

I: Species counterpoint: first species

FIRST SPECIES

-Consonant vertical intervals -No parallel or direct perfect intervals (with one exception) -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Unisons only at beginning and end. -(La ) Ti Do

I: Species counterpoint: first species

FIRST SPECIES

-Consonant vertical intervals -No parallel or direct perfect intervals (with one exception) -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Unisons only at beginning and end. -(La ) Ti Do

ALSO

-Label all intervals -Stepwise motion, contrary motion. -Favor imperfect vertical consonances, avoid successive perfects.

II: Species counterpoint: second species

II: Species counterpoint: second species

II: Species counterpoint: second species SECOND SPECIES

-Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Consonant vertical intervals on strong beats -No parallel or direct perfect intervals (with one exception) -(La ) Ti Do

II: Species counterpoint: second species

ALSO -Weak beats: consonant or dissonant PASSING TONE -No parallelisms/directs from strongstrong or weakstrong beats -Final measure whole note in both voices

SECOND SPECIES -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Consonant vertical intervals on strong beats -No parallel or direct perfect intervals (with one exception) -(La ) Ti Do

II: Species counterpoint: second species

ALSO -Weak beats: consonant or dissonant PASSING TONE -No parallelisms/directs from strongstrong or weakstrong beats -Final measure whole note in both voices

SECOND SPECIES -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Consonant vertical intervals on strong beats -No parallel or direct perfect intervals (with one exception) -(La ) Ti Do

ALSO ALSO -May begin with half rest -Optional penultimate bar whole note

II: Species counterpoint: second species

II: Species counterpoint: second species

II: Species counterpoint: second species

III: Dissonance and Metric Hierarchy

III: Dissonance and Metric Hierarchy

strong weak vs.

III: Dissonance and Metric Hierarchy

strong weak vs.

III: Dissonance and Metric Hierarchy

dissonance

forward momentum =

strong weak vs.