The second species introduces the first category of harmonic dissonance in the form of the passing tone, and now for every note of the cantus firmus (except the last), two notes are used in the contrapuntal line. In the first species of strict counterpoint, where each note in the cantus firmus, or underlying melody, is accompanied by a single note in the new contrapuntal line, we concentrate on consonant harmonic intervals and begin to develop a sense of melodic purpose. In strict counterpoint, we move from the simplest rhythmic relationship of note-against-note in the first species to the florid style of the fifth and final species, and through this orderly and systematic progression we develop an intimate knowledge of the processes by which voices or lines interact in the most natural, purposeful, and satisfying way, complementing and contrasting with one another. Strict, or “species” counterpoint, provides a clear framework for the study of voice leading: the relationship between two or more voices. The melodies and rhythms of strict, or “species” counterpoint, offer a serene and lucid source of material to work with in the pursuit of understanding basic musical concepts.Īs you work in a simple two-voice texture with melodies reminiscent of those of the Renaissance, you will explore the nature of mode and key, of consonance and dissonance, balance, tension and climax, the relationship between rhythm and line, step and skip, drama and resolution. Morley, A Plain and Easy Introduction… (1597), 155. But thus much I will show you, that he who hath this kind of descanting perfectly may, with small trouble, quickly become a good musician. Write and/or identify simple cadential formulae.…there be many things which at the first sight seem easy which in practice are found harder than one would think. Write and/or identify the four types of triads and their inversions. Write and/or identify all pitch class intervals and their inversions. Rhythm skills: Tapping and notation of simple rhythmic patterns.ĭemonstrate proficiency with the notational practices of Western tonal music.ĭemonstrate proficiency with the structural elements of the Western system of tonality. Sight-singing: Introduction to solfege and development of skills in simple keys.Īural skills: Simple tonal pattern identification in notation basic intervallic identification. Scales: Major and minor scale constructions and key signatures. Intervals: Introduction to simple intervals (2nds, 3rds, Perfect unisons, 4ths, 5ths, and octaves). Rhythm: Simple and compound meters basic rhythmic notation. Pitches notation: Introduction to basic notation in treble and bass clefs naturals, sharps, flats basic musical notation Tertian harmony: triads and their inversionįirst Species of 16th Century Counterpoint Scales, modes, and the Western system of tonality The music major or music minor as well as any student with a stronger than average interest in music.Ĭontact Hours: Lecture 55 Lab 0 Field Studies 0 Clinical 0 Independent Studies 0 Train the ear to identify and notate intervals, chords and their inversions, rhythms, melodies, and major/minor scales.ĭesigned to Serve Students transferring to baccalaureate institutions and/or needing Humanities Area II distribution credits. Sight-sing basic vocal parts with correct pitch and rhythm. Topics include musical notation, clefs, tonality, scales, modes, intervals and their inversions, triads and their inversions, simple cadential formulae, and First Species of 16th Century Counterpoint. The first quarter of a sequential study of the fundamentals of diatonic music.
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