XVI Century Counterpoint 2 voices 3rd species - I

OK as promised here is the long awaited 3rd species of the 16th century counterpoint topic. The reference used is Knud Jeppesen's Counterpoint textbook translated by Alfred Mann. For those interested in this book here is a link to an inexpensive paperback published by Dover. I recommend buying two - one as a workbook and another for reference as the binding is cheap.

Counterpoint book:

Amazon.com: Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century: Knud Jeppesen: Books

This topic is divided into two parts as the rules for melodic movement require its own thread. Also, please review the 1st and 2nd species for essential rules regarding consonances, dissonances and counterpoint :

Threads on 1st and 2nd species:

http://www.youngcomposers.com/forum/16th-century-counterpoint-2-voices-2nd-species-17071.html

2-Voice 3rd Species Counterpoint

Definition: 3rd species means the counterpoint is written in quarter notes against the whole notes that compose the cantus firmus.

Considerations

Melody:

Now the rules for melodic movement are more rigorous. One distinctive characteristic of this style is the avoidance of unprepared leaps and excessive skips as well as the filling in of leaps. The melody avoids spelling triads and other chordal configurations. Here are the rules:

A1) When Ascending you progress from larger intervals to smaller intervals

A2) Ascending skips greater than a M2 from accented quarters are not permitted - in this case the accented quarters are the 1st and 3rd. Therefore descending skips are only allowed

B) When Descending you progress from smaller intervals to larger. Descending skips from accented and unaccented quarters allowed.

C) Sequences of intervals greater than a Maj2 are not permitted. So C-G-A-D would be completely foreign to this style. Also even sequences of Major seconds for more than 4 quarters are not permitted - so F-E-F-E-B-A-B-A is not permissible only F-E-F-E OR B-A-B-A. (Note the motion is downward in each sequence - See Rule F for why)

D) No two consecutive skips greater than a M2 in the same direction permitted

E) You MAY have a skip greater than a M2 going in either direction but it should be followed either by stepwise motion or a skip in the OPPOSITE direction.

The Cambiata - your friend!

The cambiata was a melodic figure quite popular in the Rennaisance. It is simply moving from the 1st quarter DOWN a 2nd, skip DOWN a 3rd, and move UP a 2nd. An example would be D-C-A-B or G-F-D-E.

EDIT - Special considerations for Unaccented Quarter Notes ( eg quarters on beat 2 and 4)

Eldkatt mentioned two rules I did not give for simplicity but realize I should because without knowing these rules you can easily write melodies completely foreign to the 16th century style.

F) When approaching unaccented quarters from a step BELOW you should continue preferably upward, stepwise motion. So if the first two quarters are b and C, your best option would be to continue upward to D.

G) Upper auxiliary notes should be avoided on UNACCENTED QUARTERS. By upper auxiliaries I mean that G would be the upper auxiliary note in this example - G-F-E-F as the melodic figure centers around F. So a melodic figure Bflat-C-D-E/F-G-F-G would be unstylistic. The ascent to to F informs us this is our main note. Therefore, the ensuing motion to G on beats 2 and 4 do not belong to the the 16th century (there are only a few rare instances of this happening).

Assignment

A) Write in 2/2 an TWO 8 - 12 measure melody observing to the rules above in TWO of the following modes:

Aeolian

Phrygian

Mixolydian

Dorain

Be sure to post a pdf or if you have Sibelius 4, a sib file.

A) Write in 4/4 an TWO 8 - 12 measure melody observing to the rules above in TWO of the following modes: /.../

In 4 against 1 counterpoint, every other note is off-beat so the meter should be 4/2, 3/2 or at least 2/2 when moving by quarters! (In "modern" 4/4 meter you should write four 8th notes against 1 half note.)

Please correct the assignment!

M

I don't think the assignment is wrong, Matthaeus.

Oh, it's corrected already! Thanks, I'm posting my attempt.

cp4vs1.pdf

cp4vs1.mid

I still can't see what was wrong with the previous version. Anyway...

Regarding your attempt, Matthaeus:

The figure in bar 7 is to be avoided. Also remember that ascended skips on accented quarters are not correct.

Here's mine. I only did one exercise...

1.pdf

1.mid

Thanks, Alexander! I've tried to fix the problems, you've mentioned (attached below).

About your excercise, writing for soprano+bass is not the style of 16th c., 2-voice counterpoint. Adjacent voices should be used for eg. Soprano+Alto or Alto+Tenor....

The D->D->T jump at bar 8-9 is also closer to the style of later centuries. The cantus firmus should descend to the final note by stepwise motion!

Anyway, the countermelody is really good, I've found only one problem (jump from a dissonance in bar 4)

M

cp4vs1-correction.pdf

cp4vs1-correction.mid

You are right about the skip on dissonance. I didn't remember that rule. :)

One more thing about your attempt on the aeolian mode is that you should augment the leading note on the cadence. On the phrygian mode this is not necessary as the leading note is in reality the supertonic.

This topic is divided into two parts as the rules for melodic movement require its own thread.

A) Write in 2/2 an TWO 8 - 12 measure melody observing to the rules above in TWO of the following modes:

So am I right in thinking that this thread is for writing single melodies in quarter notes only, and two-part counterpoint should wait until the second part, when rules regarding harmony and dissonance treatment (now missing entirely) are introduced?

There also seem to be some melodic rules missing from this thread--such as the treatment of unaccented quarters approached by step from below (should preferably continue upward by step), and the use of upper auxiliary notes (to be avoided altogether on unaccented quarters, and possibly in other circumstances).

Eldkatt -

First off great points. I have added these rules. I think that should cover the basics for now. This thread is geared for newcomers to 16th century counterpoint as well as pros who want to exercise these skills.

Just an FYI - I was aware of these rules but thought for simplicity sake for the newcomers to omit them for now and raise them during discussion of assignments - but I agree wholeheartedly the omission of these rules may lead to some very un-16th century writing.

And yes after this follows rules on the counterpoint for 4:1. Just want people to get down the technique of writing melodically in quarter notes as in my own study I found this one of the most difficult topics to grasp during my study of 16th century counterpoint.

To all newcomers -

Please give this a try - don't be put off by all the rules. You'll learn them by doing the exercises.

Matthaeus and Alexander -

Thanks for your participation and comments. I'll do my best to look over your work. I am so happy you are checking each other's work though - eEspecially as you guysare familiar with modal counterpoint.

Matthaeus -

Ok, first your melodic treatment of quarters is great! I have just three errors I caught and one excellent handling of consecutive octaves i want to praise -

1) Per Jeppesen: "Aside from first and last measures, the unison is not allowed on the first quarter of the measure but may be used freely on the remaining beats." This rule is imposed as when you do not follow this rule you risk reducing the 2 part counterpoint to one line. Also, for those smart-alecks out there (not you matthaeus) - Jeppesen does not mean you can have consecutive unisons willy nilly on all other beats!

Check bars 2 and 3 of your Aeolian for two such errors.

2) Bar 8 beat 3 to beat 1 bar 9 - the consecutive octaves according to Jeppesen are not ideal and even calls such a counterpoint "practically unusable" but in your case they are quite usable - the melodic skip from B-G in the lower voice helps ease any sense of parallel octave motion. So very good job handling that.

3) Phyrgian bar 4 and 5. You have one hidden fifth around there. In this species hidden fifths and octaves are forbidden.

Just an FYI - I was aware of these rules but thought for simplicity sake for the newcomers to omit them for now and raise them during discussion of assignments

Ah, sorry for ruining your lesson plan, then. :P

2) Bar 8 beat 3 to beat 1 bar 9 - the consecutive octaves according to Jeppesen are not ideal and even calls such a counterpoint "practically unusable" but in your case they are quite usable - the melodic skip from B-G in the lower voice helps ease any sense of parallel octave motion. So very good job handling that.

I'm not sure Jeppesen would agree about that. These two bars are virtually identical to the example he calls "especially [...] unusable".

Thank you for correcting me. You are right about the unison, it is acceptable on strong beat only if approached by contrary AND stepwise motion by both voices, as you can see it in the following piece of Palestrina:

Benedictus from Missa brevis

(it's in modern notation, so the 8ths in bar 5 are our quarters, and the half note is our whole note)

The consecutive octaves (bar 8-9) have less importance at cadences.

The direct fifth (phrygian bar 4-5) is not really an error since the upper voice moves by a semitone only. If you fill in the E-A fifth of the cantus with faster notes you get a B->A whole step through bar 4-5, while the countermelody have F->E half step. Since B-F is a false fifth there is no hidden parallel here (B-F moves to A-E).

Well Matthaeus I disagree about your defense of the acceptability hidden fifths. I hear two hidden P5 -- F-Bflat to E-A. Also often the B would be flattened to avoid a tritone interval or melodic leap in many modes. In 3rd species the rule is very strict - especially with 2 voice counterpoint. This rules becomes a little less rigid in later species and freer in 3 voice counterpoint.

Mathaeus thanks for the example regarding unisons. For the sake of simplicity unisons are disallowed categorically on the first quarter of each measure. Note, in your example Palestrina adheres to this rule.

And yes Eldkatt one could argue the consecutive octaves at the end of the Aeolian exercises are bad form. In this case I agree with matthaeus it is not a major problem when approaching the final cadence. But it is something to be careful about.

Alexander -

Overall agree with Matthaeus' critique. One slight disagreement - it is not imperative to approach the final note by stepwise motion.

composerorganist -

My second correction is attached. I've tried to stick to the rules better this time.

You are right, the cadencial D-T or S-T jump CAN be used in 2 voices (as the example shows):

O Magnum Mysterium

, but the jump usually occurs at the _start_ of the cantus, and the cadence is only the "product" of imitation (bar 3-4, and bar 8-9).

cp4vs1-correction-v2.pdf

cp4vs1-correction-v2.mid

Mattheaus - yes this is much better, The Phyrgian is especially excellent - the elimination of the movement to the 5th to a 6th makes it flow so nicely!

Aeolian is very good my only aesthetic critique is the quarter note counterpoint seems to center around a C a bit too much in the first three measures ONLY. Not worth revising again - just something to keep in mind as you do more of these.

BTW - Thanks so much for the examples they are great! Everyone - please look at them for ideas.

Alexander -

Overall agree with Matthaeus' critique. One slight disagreement - it is not imperative to approach the final note by stepwise motion.

I'll have to make a new exercise using adjacent voices. I might post one later...

I only did one because I am completely unsure about all of the rules.

Hopefully it wasn't a failure...

let me know.

PS. After a second try I will move any further exercises to my thread as to keep yours clean. ;)

[3rd Species 1].pdf

Josh - I'll just comment on the melody first - I think that would be beneficial to you.

First off it is a lovely melody - so keep it. But it is not stylistic to 16th century. Check for when you skip greater than a major 2nd on the 1st and third quarters. Recall this isn't allowed. Also toward the end the switch to C# seems a little unprepared to me as you basically vary the preceding figure but use a C natural. I think it is the switch from stepwise motion using the C natural to the quick shift of skips and C# as well as your earlier approach to the tonic of the mode (D) which makes it seem out of place.

So modify the melody. As for the counterpoint - you are doing better but I'd rather comment when I discuss this. For now concentrate on the melody in quarters.

Bumping up for those to try the melody exercise. I promise to discuss counterpoint rules soon - need to finish schoolwork of my own over next two weeks.

Bumped up for those who want to try the melody exercise.

Okay, I tried this again with the same bass line as before. I think the C# is correct this time. lol.

I put this in here to bump the thread; the rest of mine will be posted in my thread.

[3rd Species 2].pdf

Ok - first melody - no repeated notes. Also measure 2 and 3 - you have an upper neighbor ton on an unaccented beat in mm2 and mm 3, though permissible, is not ideal. It would be best if the motion were C-B-A-B. Also later in the exercise you repeat A-B which I consider an error only because it happens so close to the final cadence and often in this style there is a strong movement to the tonic - the A-B-A-B seems to reinforce the dominant of the mode. These last points are not as important as avoiding repeated notes - but are important if you want to maintain the 16th century style.

In measure 1 you have a P4 on a strong beat and in one of the measures before the final one . See if you can find it. Recall that in 2 voice counterpoint P4 are considered dissonances.

Measure 4 and the one before the last measure you skip to a dissonance and the dissonance falls on a strong beat - recall not allowed.

See if you can find and fix these things.

okay, I think I fixed it all...

[3rd Species 2 edit].pdf

Much better - only slight change is to make the A in the first measure a G to improve the sense of melodic motion.

Just another comment about 16th century style - you end up finding quite a bit of scalar motion in this species. The amount of rules don't make it obvious but with quarter note motion you find quite a few scalar patterns while leaps are handled more carefully. The challenge is to balance these two motions to create an interesting but seamless melodic line. Just something to keep in mind.