Hello I have recently started to work thorough J. Fux’s Gradus ad Parnassum. I have just completed the first chapter on species one counterpoint, and believe I have understood the majority of it. But there are just a couple of questions I have regarding the text that any help for would be gratefully appreciated.
The first is in Fig. 21 on p.39 (Using the 1965 Alfred Mann translation) The student (Joseph) is given a cantus firmus in the mixolydain mode starting on G. In the 11thBar he sharpens the F to and F#. When asked as to why he did this he says:
I wanted to write a sixth here. But when I studies singing I learned that Fa leads down and mi leads up. Since the progression moves upwards from the sixth into a third, I have used a sharp in order to emphasize the tendency to ascend. Besides, The F in the eleventh bar would result in a harsh relation with the F# in the thirteenth bar.
This answer seems to please his teacher (Aloys). What is meant by far leads down and mi leads up?
I understand the need for the F# in the thirteenth bar which creates a Minor third with the leading tone in the upper part, resulting in smooth cadence back to the tonic. But why is a sharp needed in other bars as I thought taking the melody out of he mode was strictly forbidden according to Fux’s rules? If all the F’s are made # would this then just be G major?
My second question in relating to Fig. 15 (p.37) In bar 10 to 11 Here 'Joespeth' has brought together both voices from a 10th into an 8va leading them stepwise, the upper part down and the lower up. Aloys refers to this, as Battuta It is apparently wrong why? I thought it was acceptable to move from an imperfect to perfect in contrary motion.
Any help on these two questions would be much appreciated. Thank you
