Course Information
Course Instructor
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