Counterpoint Gisela Paterno 5 years ago Username or Email Address Password Remember Me Log In Lost your password? {{#message}}{{{message}}}{{/message}}{{^message}}Your submission failed. The server responded with {{status_text}} (code {{status_code}}). Please contact the developer of this form processor to improve this message. Learn more{{/message}}{{#message}}{{{message}}}{{/message}}{{^message}}It appears your submission was successful. Even though the server responded OK, it is possible the submission was not processed. Please contact the developer of this form processor to improve this message. Learn more{{/message}}Submitting… 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
