MU161 Lecture Notes - Lecture 5: Arpeggio, Leading-Tone, Counterpoint
Document Summary
Ends with arpeggiated tonic chord which turns to the dominant. Line is created by stepwise motion where the notes are not directly next to each other: 2. 1 c. Immediately beings with a leap and gap-fill: 2. 1 d. Beings with leap but turns right away. All leaps are consonant since they outline the tonic triad. **note** gap fills do not need to be immediate though generally they are: the best music breaks many of the rules of melody writing, refer to text book on pg 45, a. High point is on the 7th: b, c, d. Too much sequencing (avoid entirely for now: g. Takes the same amount of time to raise and lower in the melody line. Vertically and horizontally across all voicings: most important voices in terms of linear counterpoint, soprano, bass. **note** for harmonic analysis, bass will help the most: this stepwise motion is called counterpoint, species counterpoint.
