Music 1649A/B Lecture Notes - Counterpoint, Cantus Firmus, Death Of Wolfgang Amadeus Mozart

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6 Feb 2013
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September 18 Readings/Class Notes – Theory
Review of the Rules:
Intervals Motions
1. Perfect to perfect Contrary or oblique
2. Perfect to imperfect Direct, contrary or oblique
3. Imperfect to perfect Contrary or oblique
4. Imperfect to imperfect Direct, contrary or oblique
No dissonant intervals
If a Perfect 5ths move up a step, parallel fifths – not allowed – eg. Move a C and G
up to a D and an A
In other words: avoid direct motion into a perfect consonance
Use perfect consonances at beginning and end (but NOT P4 – deemed a
dissonant interval in first-species cpt)
don't begin with P5 when cpt is below cf
use M6/m3 in second-last measure
Beware of hidden fifths - diminution of the interval – diminishing larger
note values into smaller ones – a descending note sequence
Avoid melodic tritones
Avoid large uncompensated melodic leaps
Avoid skipping onto the P8 or P1 (unintentional downbeats)
Mozart Teaches Theory
1784 – Mozart meets Haydn in Vienna
1785 – publishes his Haydn quartets. Thomas Attwood becomes Mozart's pupil
1787 – Beethoven meets Mozart in Vienna
1791 – Mozart dies before Beethoven’s return
1792 – Beethoven travels to Vienna to “receive Mozart's spirit from the hands of
Haydn
Mozart: String Quartet in G, K. 387
Contrapuntal and homophonic texture
Second Species
What's New...
1. Downbeats are consonant; upbeats are consonant or dissonant
2. The counterpoint can begin on or off the beat; whole note against whole
note in the last measure
3. If the cantus firmus is in the lower part, the last three intervals are P5-M6-
P8; if it is in the upper part, the last three intervals are P5-m3-P1.
4. Passing tones are permitted on weak beats; neighbour tones are not
permitted
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