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Weestergarrd > Chapter 4 - Species counterpoint > Flashcards

Chapter 4 - Species counterpoint Flashcards

1
Q

Define - first species

A

The simplest species, all notes in all the lines occur on the beat, each note is a whole note.

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2
Q

Define - second species

A

All the notes in the species line, but the last, are half notes. Every other note is a whole note. (ie. 2 against 1)

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3
Q

Define - third species

A

Species line, every note (except last) is a triplet / crotchet. Every other note is a whole note. (ie. 3 or 4 against 1)

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4
Q

Define - fourth species

A

Only the last note in species line is on the beat, all others off the beat.

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5
Q

Define - mixed species

A

Two or more species lines used at once. Can be from same species, or mixed species.

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6
Q

Basic features of bass line

A
  1. No bass note is ever higher than any simultaneously sounding note in other lines.
  2. Bass is based on arpeggiation of tonic and dominant, known as basic arpeggiation.
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7
Q

Basic features of upper line

A
  1. Basic step motion, from mediant, dom, octave, down to the tonic
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8
Q

Other line?

A
  1. Based on repetition of, neighbour embellishment of, arpeggiation of, or step motion between, tonic triad pitches.
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9
Q

Upper line - A1

A

Final pitch tonic.

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10
Q

Upper line - A2

A

First pitch tonic triad member 3rd above, 5th above, 8th above.

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11
Q

Upper line - A3

A

A1 and A2 must be joined by intervening diatonic notes by step motion.

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12
Q

Upper Line - B1

A

Any triad pitch may be repeated.

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13
Q

Upper line - B2

A

Neighbour may be inserted between any repeated notes./ consecutive notes with the same pitch.
(Neighbour always diatonic, except lower neighbour to tonic in minor ie #7)

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14
Q

Upper line - B3

A

Any triad pitch may precede the first pitch, or be inserted between any two consecutive pitches.

But

  • No dissonant skip created,
  • No skip > Octave created.
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15
Q

Upper line - B4

A

Any two consecutive notes forming a skip may be joined by step motion.

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16
Q

What are the mandatory uses of raised 6 and raised 7 in a minor key?

A

a. Rising step motion from 5 to 8.
ie. 5-#6-#7-8

b. Rising step motion from 5-7
ie. 5-#6-7

c. Falling step motion from raised 7 to 5.
ie. #7-#6-5

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17
Q

Order of priority A1-B4

A

A1-A3 - must apply once and in order to provide basic structure.

B1-B4 may be applied any number of times and in any meaningful order.

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18
Q

Bass line - A1

A

Final pitch tonic

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19
Q

Bass line - A2

A

First pitch tonic, or octave

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20
Q

Bass line - A3

A

Middle pitch of basic arpeggiation dominant above, or below.

Keep in mind no skip > octave

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21
Q

Bass line B1

A

Any triad repeated

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22
Q

Bass line B2

A

Neighbour between consecutive repeated pitches

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23
Q

Bass line B3

A

Any triad pitch between any two consecutive pitches
But
no dissonant skip
no skip > octave
and
careful, try avoid inserting mediant between dominant and tonic at end, unless you know what you’re doing.

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24
Q

Bass line B4

A

two notes forming skip may be joined by step motion

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25
Q

Other line A1

A

Final pitch, tonic triad member, 1,3,5,8 etc

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26
Q

Other line A2

A

First pitch, tonic triad member, no further than octave from final pitch

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27
Q

Other line A3

A

If identical, may be embellished by neighbour

If different, may be connected by step motion.

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28
Q

Other line - B rules

A

Same as upper line.

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29
Q

What are the only ways to generate a non triad pitch in a line?

A

Neighbour, step motion to or from a triad pitch

30
Q

What does structurally unambiguous mean in terms of a line?

A

There was only one possible method of constructing a line according to rules of tonality.

31
Q

What is the most efficient way of understanding a line, in a structurally ambiguous line?

A

The way that uses the fewest number of distinct steps to create the line.

32
Q

How to understand a structurally ambiguous line when the different ways are equally efficient?

A

Prefer the most complete method of explanation.

ie. B1 repeated note more specific than B3 triad pitch.

33
Q

How to undertstand, when a note forms seconds with two other notes, either before it or after it, in such a way that either second could be understood as step motion or neighbour structure.

A

Whichever pair of notes (structure) completes in a shorter period of time

34
Q

When multiple ways of understanding a line, how do you choose?

A

1) Fewer stages to construct, more efficient
2) Determines pitches of line more specifically, tighter explanation
3) corresponds to patterns in the line, more consistent
4) attaches secondary structures to basic pitches, more unified.

35
Q

What about when ‘preferable’ ways of understanding a line conflict with each other?

A

Generally, judgement and sometimes there’s just no way of solving the conflict.

36
Q

What does structurally ambiguous mean in terms of a line?

A

It means that there is no single, preferable way of understanding the conception of the line.

37
Q

In general, given two similar line similar in all other respects, which is the most interesting?

A
  1. Greater number of stages = more interesting.
  2. Step motions and neighbours longer time spans. More interesting.
  3. Same pitch/interval in different contexts on successive occasions. more interesting.
38
Q

What are the conflicts between understanding a line and the interest of that line?

A
  1. Fewer steps = better to understand
    More steps = more interest.
  2. More specific pitches and shorter structure time = better to understand.
    More ambiguity and longer time span for structures = more interest.
  3. Explain patterns in regular way = better to understand.
    Pattern contradict regularity = more interesting.

Note - more unified structure = better to understand, AND more interesting.

39
Q

What two approaches must be considered when combining two or more lines?

A
  1. Local relationships - how lines actually relate to each other.
  2. Long term relationship - relationship between structure of one line taken as a whole, compared to structure of other line, and results of this relationship on our understanding of each line.
40
Q

What are the four ways local relationships can exist between the four species?

A

Relationship between:

  1. Consecutive notes in the same line.
  2. Simultaneous sounding - begin same time. stronger.
  3. Simultaneous - don’t begin together. weaker.
  4. Contiguous notes in different lines.
41
Q

What intervals are permitted in consecutive notes in a line?

A

Controlled by 4.1
No augmented/diminished intervals.
No dissonant skips.
No skips > octave.

42
Q

What are general concepts regarding simultaneous sounding notes in two or more lines?

A

Most constraints regard dissonance and treatment of dissonance. Designed to make it possible

  1. to tell which of the two notes forming the dissonant interval is the unstable one.
  2. to have an understanding of dissonant note as
    a. Subordinate in pitch and rhythmic function to other notes in its line.
    b. left over from previous time when it was stable.
43
Q

How absolute are the rules relating to sonority?

A

Not absolute, rules of thumb as opposed to constraints regarding generation of lines, control of dissonance and forbidden forms of motion.

44
Q

What are the three factors of sonority?

A 
1, Interval class
2, interval size
3, regsiter
45
Q

how does interval class affect sonority?

A

perfect (unison, fourth, fifth, octave) - thinnest
imperfect consonance (3rds, 6ths) - fuller
dissonance - dense

46
Q

how does interval size affect sonority?

A

bigger interval - thinner

smaller interval - thicker/denser

47
Q

how does register affect sonority?

A

lower the ranger, fuller the sonority

48
Q

what are the rules of thumb regarding sonority - spacing?

A

a. if possible to make intervals smaller by shifting a line up or down an octvave, without violating voice leading constraints, then do so.
b. in three lines, try and avoid dissociating bottom two lines from top line.
ie. try AVOID
bottom - middle < octave
middle - top > octave

49
Q

what are the rules of thumb regarding sonority - interval control?

A
  • try to maintain sonority levels

- unless trying to emphasise, avoid perfect consonance in midst of imperfect consonances.

50
Q

what is a cross relation?

A

when a diatonic degree pitch and a chromatic alteration of that same pitch appear contiguously.

51
Q

example of a cross relation?

A

in minor -
L1- major sixth used in ascending step motion
L2- minor sixth used descending step motion / upper neighbour to fifth
or
L1- major seventh in ascending step motion / lower neighbour
L2- minor seventh in descending step motion

52
Q

how to reduce shock of cross relation?

A
  1. second of cross related pitches approached by step, creating dissonance with the first of the pitches
  2. third line, simultaneous note creates dissonance with one of the cross related pitches
  3. third line, moves by step motion at moment
53
Q

Types of motion : define parallel

A

two lines, move at the same time, in the same direction, by the same interval class (ie. maj 3 and min 3 qualifies as parallel)
-ie.parallel thirds
parallel 6ths

54
Q

types of motion : define similar

A

two lines move by at the same time, same direction, but different number of seconds (different intervals)

55
Q

types of motion: what is overlapping?

A

when, as a result of similar/parallel motion:
second note of the lower line,
is higher than
first note of the upper line

56
Q

types of motion: define contrary motion?

A

when two lines move at the same time, but in opposite directions.

57
Q

types of motion : define oblique motion?

A

when one line moves and the other line does not.

58
Q

what are the constraints on parallel motion?

A

no parallel unisons, octaves or fifths.

  • fifths includes 13ths
  • must be parallel motion
  • parallel octaves in tonal music often used as doubling, not counterpoint. important to distinguish.
59
Q

what is non consecutive parallel motion?

A

for instance, when there is parallel 8ths on the strong beat, - has the same effect of parallel motion

60
Q

what are the general strategies for combating non-consecutive parallels?

A
  1. denying the sense of the first pitch before the second is reached.
  2. weakening the arrival of the second pitch by having a member of the same pitch class occur before the parallels.
61
Q

what are the general considerations in regards to restriction of similar motion?

A

-emphasis already exists due to two notes beginning at the same time.
- similar motion increases emphasis
-unison, 8ve, 5th also increase structural bond
BUT
-unison, 8ve, 5th also sonority weak

62
Q

When is the unison approached by similar motion?

A

Never. Most sensitive interval. (In species counterpoint at least.)

63
Q

When is the octave approached by similar motion?

A

Only if the upper note is approached by step,
and either,
both notes forming the octave have critical roles in respective structures,
OR
effect compensated for by other factors
ie. a third line creating sonority

64
Q

when is the 5th approached by similar motion?

A

least sensitive of three perfect intervals.
can be approached when -
a. approached by step in upper line, and both notes forming 5th have critical role in structures, OR
b. when another line contributes enough sonority
c. can even be approached by skip in upper line, IF other factors compensate.

65
Q

what is the inherent danger with crossing or overlapping lines?

A

that the individual identity of each line is lost to the listener

66
Q

regarding bass, what is the policy on cross and overlapping lines?

A

crossing - never okay, bass should always be lowest

overlapping - awkward, should be avoided if possible.

67
Q

regarding upper lines, what is the policy on crossing and overlapping lines?

A
  • neither line HAS to be higher or lower than other
  • simplest way to keep structures clear is use of oblique motion
  • step motion
68
Q

what are the easiest kinds of overlap to grasp? (p.80)

A

a. where the lines move in parallel thirds or sixths, or where the lines skip an octave.

69
Q

what are the different types of correspondence between two lines in terms of segment structure? (p.82)

A

Aligned:
a. functionally parallel- generating the notes of each segment in the same order, using the same rule for both lines at each point.
b. not parallel. can generate notes in the same order, ubut different rules used for the last notes generated.
Unaligned:
a. different conceptual priority for simultaneously sounding notes.

70
Q

Types of correspondence for structural relationships for whole lines? (p.83)

A

Basic structure:
- no way step motion can be functionally parallel with basic arpeggiation, closest available correspondence is basic alignment.
-any of basic structure upper line may be unaligned with lower line
- all of basic structure of upper line might be unaligned with lower line.
Secondary structure:
-Aligned, parallel
-aligned, not parallel

71
Q

How does structural alignment interplay with understanding ambiguity? (p.87)

A
  • if L1 ambiguous, L2 unambiguous,
    and can interpret L1 structure as being aligned with L2 structure, choose that interpretation.
  • if L1 ambiguous, L2 ambiguous,
    prefer to interpret with whichever availble corresponding structures are available
72
Q

How is interest affected by the structural alignment of two lines?

A

As per before, there is a fundamental conflict between interest and understanding.
Prefer to understand with maximum alignment.
However, we find more interesting the combination with less structural alignment.

Weestergarrd (3 decks)

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