| A | B |
|---|
| What is the study of counterpoint? | Is the study of voice leading |
| What is the aim of studying counterpoint? | To develop ability to hear/understand/control the fundamental relationships that arise when 2 or more melodic lines combine into a meaningful whole |
| What are the 2 main aspects of voice leading? | The organization of each of the component lines, and their combination into an intelligible musical fabric |
| Cantus Firmus | Is the given line to which a counterpoint will later be set |
| What do we find in the Cantus Firmus? | We find melodic organization in its simplest form |
| What does the meaning of a tone depend upon (in the Cantus Firmus)? | Depends entirely upon its contextual relationships in the horizontal dimension= In the Cantus Firmus, harmonic implication, rhythmic profile, and motivic design are all eliminated in order to allow the most concentration upon purely linear factors |
| Cantus Firmus and melody | The cantus firmus is NOT a melody (at least not in the usual sense), but is rather an abstraction from melody in which the linear element is separated from the other aspects of melodic design= Despite its simplicity, Cantus Firmus still has qualities like direction, continuity, variety, balance, and completeness |
| Cantus Firmus: Rhythm and Length | If the cantus firmus is to combine with counterpoints in the various species, it must consist of tones of equal time value= The resulting absence of rhythmic differentiation (as well as rhythmic organization) is important for it brings into sharp focus purely linear factors= The effect of the line must arise out of melodic contour alone without the help of rhythmic variety |
| Cantus Firmus: Stress | All tones in this line receive equal stress (there is no grouping into strong and weak beats)= Thus, is best to write the cantus in whole notes |
| Describe the length of the Cantus Firmus | Will not contain fewer than 8 or more than 16 tones |
| Tonal Material | The cantus firmus and all the melodic lines of the species exercise are to be conceived in terms of the human voice |
| What is easier to sing? | Small intervals are easier to sing than large ones= Consonant intervals are easier than dissonant= Diatonic easier than chromatic |
| Cantus Firmus: Intervals | Should not contain intervals larger than an octave, dissonant leaps, or chromatic half steps= Dissonant leaps include all 7ths and all augmented and diminished disjunct intervals= We include the augmented 2nd in this group for, although it results from the alteration of stepwise motion, the augmented 2nd sound more disjunct than conjunct= By chromatic half step we mean the augmented prime (such as F natural-F sharp or B natural-B flat) |
| What are the usable intervals? | Major and minor 2nd, major and minor 3rds, perfect 4ths, perfect 5ths, major and minor 6ths, and perfect octaves (in general, the larger intervals must be treated more cautiously than the smaller ones) |
| In the horizontal dimension, the stability of an interval depends upon... | Size as well as upon consonance or dissonance (a melodic 10th has much more tension than a melodic 3rd) |
| In the vertical dimension, the stability of an interval depends upon... | The distance spanned by an interval affects its stability only under special circumstances (normally a vertical 10th is no less stable than a 3rd) |
| What else influences the melodic range of the cantus firmus? | Vocal considerations= The range of the voice is limited, thus the cantus should lie within a rather small compass= A 10th between the lowest and the highest tone is the maximum range (most cantus firmi move within narrower limits, many falling within the compass of a 5th or 6th) |
| When does a musical motion have direction? | If it shows a clearly defined beginning and goal |
| Dealign with species counterpoint, what determines the quality of direction? | Quality of direction results from the melodic climax in its relation to the beginning and end of the exercise |
| What must each cantus firmus contain? | A climax or high point= This tone will serve as the goal of a motion from the first tone of the cantus= It will also fucntion as the beginning of a second melodic curve down to the final tone (the climax tone should not be repeated)= It is possible to construct a line where the climax is the lowest rather than the highest tone (these lines are most effective in a bass register)= A good cantus firmus must function well in all registers |
| Climax in a bass register | In a bass register, is possible to make a line where the climax is the lowest rather than highest tone= In a bass line, a descent moves away from the neutral middle range= It is thus experienced as an increase in tension |
