Leave a Comment / By Gisela Paterno / November 14, 2019 Username or Email Address Password Remember Me Log In Lost your password? Course Information Categories: Beginner to Advanced, Counterpoint Tags: Counterpoint, counterpoint species, imitative counterpoint, modal counterpoint, polyphony, tonal counterpoint Course Instructor Gisela Paterno Author MODULE 1: Counterpoint. Introduction Definition. Counterpoint Vs. Polyphony Why should we study Counterpoint? Musical Applications of Counterpoint through Time MODULE 2: The beginning of Counterpoint Historical context. Monophonic Music the IX and X centuries and Notation Tonal Materials. Ecclesiastical Modes Mensural Notation First Polyphony of the Ars Antiqua: Organum and Discantus MODULE 3: Modal Counterpoint. Renaissance period Historical and cultural context XIV and XV Century principles of the Franco-Flemish School Melodic Contour and Rhythmic Principles The text above all – Word painting MODULE 4: Species in Counterpoint. General Guidelines What are the Species in Counterpoint and why their study Contrapuntal Motions Objectionable parallel motions The independence of the melodic lines MODULE 5: 1st Species: note against note Compound intervals between voices Beginnings and endings Contrasting melodic lines and independence of the voices Exercises in the First Species MODULE 6: 2nd Species: 2 voices against one Second Species: General Overview Introduction of the dissonance: Rules and examples Exercises in Second Species MODULE 7: 3rd Species – 3 voices against one Main Concepts: Prolongation Guidelines and examples Exercises MODULE 8 :4th Species – Suspension Fourth Species Guidelines Examples of 4th species in Binary and Ternary Meter Exercises in Fourth Species Ternary meter in 4th species MODULE 9: 5th Species: Florid or “Free” Counterpoint Fifth Species: General guidelines Exercises in Fifth Species Invertible Counterpoint MODULE 10: Three-part Counterpoint Three- Part Counterpoint Main concepts Three-Part Counterpoint: Examples MODULE 11: Four-Part Counterpoint or Chorale writing Four-Part Counterpoint: General Guidelines in Chorale Writing Four-Part: Examples MODULE 12: Canon What is a Canon? The imitative discourse in Polyphony and its Implications in the Form Procedures Applied in the Imitation: Types of Canon MODULE 13: Baroque period and the Countrapuntal Techniques Treatment of Dissonance in the Baroque period Special devices Harmony implied in the Polyphonic texture applied MODULE 14: The Single Melodic Line Voice Leading principles Melodic Contour: “Archetypes” Relative importance of the notes Structural Vs. Ornamental Balance and Symmetry: Analysis of a Melody The Compound Line and the Implied Harmony MODULE 15: Counterpoint in Composition Schenkerian Analysis and Contrapuntal Technique The Reduction of the Polyphonic Texture into the Concept of Species MODULE 16: Fugue Vs. Fugato Fugue Fugato MODULE 17: Free Counterpoint and Imitation Forms Counterpoint applied to the texture
