Samples of two-voice strict style from musical literature

Simple counterpoint in two-voice austere style.

Simple counterpoint is such a polyphonic polyphony, which is not designed to be repeated with changes in the ratio of voices. Repeated drawings of simple counterpoint allow only transposition.

Each of the voices of polyphonic polyphony must have the qualities of correct monophony (see the previous lecture).

Each pair of voices in polyphony must comply with the rules for strict two-voice, which are set out below.

Rhythm. You should use the so-called complementary rhythm (complementary). This means that you should avoid simultaneously in two voices: pauses, caesuras, ligated notes, stops on long notes, etc.

Josquin Despres. Mass “Ľ homme armé”, Qui sedes

Correlation of melodic lines. Preferably the opposite movement of votes, indirect is allowed. Direct movement is less common. Parallel movement is possible in small areas in thirds, sixths and decims.

Vertical. Perfect consonances (pure prima, octave, fifth) are used mainly at the beginning of construction and as a final consonance. Parallel and opposite movement of perfect consonances is prohibited.

Imperfect consonances (major and minor thirds, sixths) are used relatively freely. Do not use more than three parallel imperfect consonances. It is forbidden to follow two minor sixths and two major thirds. To avoid this error, a random sign should be used.

Dissonances (large and small seconds, quarts, tritones, nones and sevenths) are used in strictly defined conditions.

At a weak time in a smooth movement, dissonances are possible as passing, auxiliary and ascending. Jump dissonances are forbidden at weak time.

On a strong time, dissonances can appear only in a cadence and only as a prepared delay with a smooth descending resolution at a weaker time and a further transition to the final consonance. A second lingers in the lower voice, a seventh in the upper voice, a quart and nona in any.

Any dissonance must be surrounded by consonances .

Samples of two-voice strict style from musical literature

In each fret it is possible to use any of the proposed rhythmic schemes.

Main literature

Barsova I. A. Essays on the history of score notation (XVI – first half of the XVIII century). – M., 1997.

Grigoriev S., Muller T., Textbook of polyphony. Ed. I-e. – M., 1961; ed. 2nd. – M., 1985.

Dubravskaya T.N. Music of the Renaissance. XVI century // History of polyphony. Issue. 2B. – M., 1996.

Dubravskaya T. N. Polyphony. – M., 2008

Simakova N. A. Strict style counterpoint and fugue. History, theory, practice. Part 1. Strict style counterpoint as an artistic tradition and academic discipline. Chapter two. – M., 2002.

Skrebkov S. S. Textbook of polyphony. – M., 1965.

Stepanov A. A., Chugaev A. G. Polyphony. Tutorial. – St. Petersburg, 2006.

Kholopov Yu.N. Categories of tonality and mode in the music of Palestrina // Russian book about Palestrina. – M., 2002.

Kholopova V. N. Musical rhythm. M., 1980.

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