We’ll say at the outset that, for most of this first series on “species counterpoint” we will continue to adhere to the broad outline of Fux’ 18th century treatise, Gradus ad Parnassum, published in 1725.
That original treatise, in Latin, is PUBLIC DOMAIN (See the description). Based on limited understanding of the practices of Palestrina, a composer of the Renaissance-era, the book is known to have served in the formative studies of Mozart, Haydn, and Beethoven. Even the great J. S. Bach owned a personal copy of The Gradus.
That said, musicological research since the release of Gradus ad Parnassum, has increased our understanding of counterpoint and harmony practices of the era. For comparison and contrast, some of this “new stuff” may be brought your attention. But what worked for Haydn, Mozart, and Beethoven should be “good enough” for undergraduate university students today. Right?
Hence, our next exercise in Two Part, First Species Counterpoint, moves the Final of the Cantus Firmus [CF] to the note E. Jazz and popular musicians today will say that the exercise is in “Phrygian Mode,” but Fux is quiet with regard to the Greek labels.
At any rate, let’s take a closer look at and listen to the diatonic steps of our “Phrygian mode,” ascending and descending. We want to get the sound down, first, and not be concerned with verbal labels just yet.
Next, let’s have a listen to a CF in what we today would say is in Phrygian mode.
As you see, we continue to feature C-clefs, instead of the usual treble and bass clef on a Grand Staff. Warning! The temporary “discomfort” experienced by students who are used to reading music in treble or bass clef may approximate that of those just starting to learn! This feeling will pass.
Fux’s Latin treatise on counterpoint uses only bass and C-clefs. Our Assignments require students to transcribe the C-clef examples to a more familiar staff and clef, whether treble or bass. Remember, simple pencil-to-paper transcription, by hand, is a powerful way to learn – so NO digital copying-and-pasting, please! [mus]
Moving on. Recall the Guidelines discussed in a previous presentation. Here is a Summary. You are permitted to take a screenshot for personal study.
With the Guidelines in mind, we add the Upper Counterpoint to the cantus firmus in Phrygian mode, again in note-against-note, or First Species Counterpoint.
Be sure to analyze each vertical interval – the diatonic distance between lower part and upper part – writing corresponding figures above the bass, for each vertical pair of notes. You may find it easier to do this progressively as you go.
Mark the semitones. Observe that it is the configuration of the semitones that determines the “sound” of a mode. Note that there is no Leading Tone on the 7th scale degree. In Phrygian, the second scale degree is a semitone above the Final, and functions as a “descending leading tone.” Now listen! [mus]
Label instances of parallel/similar motion, also oblique and contrary motion – use the letters PM, SM, OM, or CM. Listen once more! [mus]
We’ve now added a third staff below, making the CF the effective Upper Voice of a Lower Counterpoint [LCP]. You may use such a 3-staff method to conserve staff paper for your exercises. Just remember that the UCP and LCP are not meant to be performed together!
That said, we’ll hide the UCP staff for the rest of this presentation, to avoid confusion. Now, before adding a lower first species counterpoint line, let’s listen once more to the Phrygian CF alone. [mus]
Red Alert! What is wrong with this movement in the lower voice part? [mus] Yes, that is a melodic interval of an augmented 4th – a tritone from the note F to B natural – in the LCP. Unfortunately, that is a dissonant interval, and […]
Only consonant melodic intervals are allowed in first species counterpoint in two-parts. For a refresher, watch the three or four tutorials on how to write a cantus firmus. (Link to Playlist in Description)
We can easily correct this error in the LCP with an ascending leap of a perfect fifth [P5] in the Tenor part, instead of that Augmented 4th. In first species voice leading, perfect melodic leaps are permitted. Now listen! [mus]
With that in mind, and recalling the Guidelines, we can complete a Lower Counterpoint to the cantus firmus in Phrygian mode, again in note-against-note, or First Species Counterpoint.
Be sure to analyze each vertical interval – the diatonic distance between Lower Counterpoint and CF above – write the corresponding figures above the bass notes. You may find this easier to do for each bar individually as you go. Let’s listen to it! [mus]
Once more we see that it is the configuration of those semitones – between degrees one and two, and between five and six – that creates the distinctive “sound” of the Phrygian mode. In the CF above, the functioning Leading Tone is the second scale degree. Observe also the various types of motion between the two parts. [mus]
Reiteration: We reviewed the structure of the Phrygian mode, introduced Fux’s CF in that mode, and added respectively the Upper and Lower Counterpoint. To accomplish this, we recall earlier Guidelines pertaining to First Species Counterpoint – whole notes – and reminders to use only consonant intervals in 2-part, note-for-note construction. We also encouraged students to get used to the C-clefs, by transcribing each example to treble or bass staff, by hand, pencil to paper. Heck, if this was good enough for Bach, Beethoven, Haydn, and Mozart … !
Assignment. Play and sing your transcription of the Phrygian mode CF along with first UCP then LCP. DO NOT try to play or sing all three lines simultaneously. If necessary, transpose these examples to a comfortable key for your voice. You may also wish to try your hand at creating your own upper and lower counterpoint to the same CF.
WATCH THE VIDEO:
Video Tutorial on how to write a Cantus Firmus [PLAYLIST, 4 videos]: https://www.youtube.com/playlist?list=PLr9RYCj11MSx1-XdfulLNQX0uZLC-hGvR
Species Counterpoint in Two Parts: An Introduction:
2-Part, First Species, Lower Counterpoint (LCP):
IMAGES, order of appearance –
Bildnis des Palestrina, by Universitatsbibliothek Leipzig (downloaded 2017_09_10; mods and commercial use allowed): https://flic.kr/p/rF8sdo
Haydn – Wien november 2013, by Greger Ravik (mods and commercial use allowed; download 2017_09_10): https://flic.kr/p/qT5wjY
Mozart - IMG_0029, by Beta-J (downloaded 2017_09_10. Mods & commercial use allowed): https://flic.kr/p/6Qt2Sv
Beethoven, by Thomas Quine (downloaded 2017_09_10; mods & commercial use allowed): https://flic.kr/p/dnDLbk
Bust of J.S. Bach, by vxla (downloaded 2017_09_10; mods and commercial use allowed): https://flic.kr/p/7iZuJU
WORKS CONSULTED, in Alphabetical Order by Authors’ Names
Fux, Johann Joseph, Gradus ad Parnassum. Reprint of original, in Latin. A Public Domain work (1725)
Link: http://imslp.org/wiki/Gradus_ad_Parnassum_(Fux,_Johann_Joseph)
Schubert, Peter. Modal Counterpoint.
Salzer, Felix, and Carl Schachter: Counterpoint in Composition. McGraw-Hill: New York, 1969.