MUST 1711 Lecture Notes - Vise, Leading-Tone, Appoggiatura
4 Jun 2018
School
Department
Course
Professor
Music Theory l / Temple University / Dr. E. Derr
Lecture and Book Notes / Weeks 1-6 (1st half of Fall Semester)
Book: The Complete Musician – 4th Edition By: Steven G. Laitz
Notes By: Kirstin Ortiz
*Note from Kirstin: Music theory is a complex and difficult area of study. These notes are intended for someone who has previous knowledge of
music theory and is intending to use these notes to supplement their studies. These notes are concise and intended to be a reference for
studying purposes. In order to succeed in a theory class, one needs to complete written and aural exercises as well as study. Solely reviewing
these notes will not be substantial enough to pass a theory class or retain the full scope of theory studies, but I hope that they are helpful
nonetheless. *
Key:
SD = Scale Degree
T = Tonic
D = Dominant
PD = Pre-dominant
Contrapuntal Relationships Depend On:
1) The behavior of consonant and dissonant intervals
2) The harmonies implied by their interaction
Johann Joseph Fux – Credited today with the most widely used counterpoint teachings
Cantus Firmus (CF) – Fixed melody; a “structured pillar” from which all other voices are based
The Five Species – Isolate the ways that voices move against the CF
1st Species (1:1) Counterpoint – One voice against CF
➢ This new (contrapuntal) voice can be written above or below the CF
➢ The perfect 4th is not allowed
*When writing counterpoint, rules must be obeyed while guidelines are for aesthetics
Contrapuntal Motion – The contour created between 2 or more voices
Types of Motion:
Contrary – Voices move in different directions; provides the most independence between voices
Similar – Voices move in the same general direction; most effective with imperfect intervals
Parallel – Voices move in the same direction and maintain the same generic interval; should only
be used with imperfect intervals and only 3 in a row at most
find more resources at oneclass.com
find more resources at oneclass.com
Music Theory l / Temple University / Dr. E. Derr
Lecture and Book Notes / Weeks 1-6 (1st half of Fall Semester)
Book: The Complete Musician – 4th Edition By: Steven G. Laitz
Notes By: Kirstin Ortiz
*Perfect consonances cannot be approached by similar motion; this is called a hidden interval and is
prohibited
➢ An exception to this is if the upper voice moves by a step (called horn 5ths)
Leaps – No simultaneous leaps allowed and if a voice leaps, it must next step in the opposite
direction
Second Species Counterpoint (2:1):
• Uses voices and rhythms twice as fast as CF; for every CF note there are 2 notes in the
other voice
• Same melodic guidelines as 1:1, but new problems arise
Oblique Motion – One voice moves and the other remains stationary
*Weak beats can be consonant or dissonant
➢ Can move to a weak-beat consonance by step, skip, or leap
➢ Only one way to create consonant step motion: moving from a 5th to a 6th or vise
versa (the combination contains 2 adjacent consonances; 5-6 technique)
Consonant Passing Tone – The consonant second pitch continues in the same direction
Consonant Neighboring Tone – Consonant second pitch returns to the pitch on the downbeat
Consonant Skips – Motions by a 3rd
Consonant Leaps – Movement by intervals larger than a 3rd
➢ The weak-beat note must be consonant with the preceding melody note and the
CF
Compound Melody – Skips and leaps that occur several times, giving the effect of splitting one
line into two voices
• Leaps take place within measures; not between them
• 2:1 uses one type of dissonance: unaccented passing tone
➢ When passing tones occur on a weak beat, they fill space within the interval of a
3rd, creating a smooth stepwise motion
➢ The motion into and out of dissonant passing tones must occur in one direction;
ascending or descending
➢ The goal of 2:1 is to create as many passing tones as possible
find more resources at oneclass.com
find more resources at oneclass.com
Document Summary
*note from kirstin: music theory is a complex and difficult area of study. These notes are intended for someone who has previous knowledge of music theory and is intending to use these notes to supplement their studies. These notes are concise and intended to be a reference for studying purposes. In order to succeed in a theory class, one needs to complete written and aural exercises as well as study. Solely reviewing these notes will not be substantial enough to pass a theory class or retain the full scope of theory studies, but i hope that they are helpful nonetheless. Contrapuntal relationships depend on: the behavior of consonant and dissonant intervals, the harmonies implied by their interaction. Johann joseph fux credited today with the most widely used counterpoint teachings. Cantus firmus (cf) fixed melody; a structured pillar from which all other voices are based. The five species isolate the ways that voices move against the cf.
