TwoVoice Writing with White Notes

1
Two-Voice Writing with White Notes

• Punctum Contra Punctus

2
Counterpoint

• The ear tends to switch back and forth between
  lines because it is hard to follow two or more
  parts simultaneously.
• Maximize the distinct properties of each voice
  because the voices are of equal importance.

3
Basic Principles

• The parts need their own unique pitch range.
• Some voice crossing is allowed but can lead to
  confusion of the lines.
• The parts must be melodically independent.
• Use a mixture of contrary, similar, and oblique
  motion.
• Too much similar or oblique motion results in one
  voice sounding like the melody and the other
  simply an intervalic coupling.
• Contrary motion tends to dominate but using
  contrary motion exclusively is also bad.

4
Basic Principles

• Vertical simultaneities are mostly consonant.
• The use of dissonance is highly regulated.
• Rhythmic independence is essential.
• Generally, while one voice is moving the other is
  sustaining.
• The interplay of movement between the lines is
  fundamental to preserving the independence of
  voices.

5
Harmonic Intervals

• Intervals are always figured from the bottom
  voice.
• In a 3-part (or more) texture, this means
  dissonance is figured from the bottom voice.
• The consonant intervals are the Perfect Unison,
  Fifth, and Octave, and Major and Minor 3rds and
  6ths.
• The Major and Minor 10th and Perfect 12th are
  permitted, however the lines most commonly stay
  within an octave of each other.
• Any 2nd, 7th, Perfect 4th, and Augmented or
  Diminished interval must be treated according to
  the accepted uses of dissonance.

6
Harmonic Intervals

• A Perfect Unison, Octave, or Fifth is used when
  both parts start simultaneously.
• Consult figure 1-7, page 13 for preferred initial
  pitches.
• The first note must be at least a semibreve
  (whole note) in duration.
• Only the Perfect Unison and Octave are used for
  interior or final cadences.
• Both voices must move stepwise to the final
  pitch.
• Either a Minor 3rd moves to a Unison, or a Major
  6th moves to an octave.
• Ficta is used with cadences on D, G, and A to
  create a leading tone.

7
Harmonic Intervals

• Perfect consonances within a phrase have specific
  voice leading requirements.
• Unisons are only used on weak beats, must be
  approached and left by contrary or oblique
  motion, and their use should be limited.
• Octaves are used on weak beats, only very
  occasionally on strong beats, must be approached
  and left by contrary or oblique motion, and their
  use should be limited.
• Perfect fifths are approached by contrary or
  oblique motion, similar motion is rare and one
  voice must be stepwise while one voice leaps, use
  on consecutive strong beats is possible if an
  imperfect consonance intervenes.
• Patterns of successive 6-5s are common.

8
Harmonic Intervals

• Parallel Perfect Intervals are forbidden!
• 3rds, 6ths, and 10ths can be approached and left
  freely.
• More than 3 consecutive occurrences of the same
  imperfect consonance in similar motion severely
  weakens the independence of voices.

9
Dissonant White Notes

• Passing Tones and Suspensions are the only types
  of dissonance allowed with minims.
• Passing tones only occur on weak beats.
• They can be ascending or descending.
• They must pass against at least a semibreve.
• Do not reiterate the note that is against the
  passing tone.

10
Dissonant White Notes

• Suspensions occur on strong beats.
• They consist of three parts
• Preparation -- occurs on a weak beat
• Suspension -- occurs on the strong beat
• Resolution -- occurs on the weak beat.
• The Preparation is usually tied to the Suspension
  except in the rare case that there is a new
  syllable.
• The 7-6 and 2-3 are the most common in 2 voices.
• The 4-3 is possible and avoid the use of an A4.
• Avoid the 9-8 because of the resolution to the
  8va.
• In the 7-6 and 2-3 it is possible to have
  non-suspended voice leap to a consonance --
  change of part.

11
Cadences/Imitation

• Cadences are always feature a 7-6 suspension
  resolving to an octave or a 2-3 suspension
  resolving to a unison.
• Dont forget the proper ficta when appropriate.
• The Phrygian cadence (F-E D-E) can also be
  used on A when B-flat is used (B-flat-A G-A).
• Cadences fall on strong beats.
• The final cadence is always a breve in length,
  even if it falls on beat 3.
• Points of Imitation are the norm for the
  beginning of a composition and for the
  introduction of new text and thematic material
  that appears after an interior cadence.

12
Imitation

• Regarding the opening Point of Imitation in a
  two-voice composition
• The temporal distance before the imitating voice
  enters is an even number of beats -- 2, 4, 6, or
  8.
• The most common interval of imitation is the 8va,
  5th, 4th, and sometimes the unison.
• Either voice can begin the composition.
• The second voice begins with strict imitation for
  a few measures and then free counterpoint is
  used, called fuga -- otherwise it is a canon.
• The imitating voice maintains the exact intervals
  -- real answer -- the tonal answer is rare.
• The subject usually scans in one of the three
  hexachords -- C-A (naturale), F-D (molle), and
  G-E (durum).
• With imitation at the 4th or 5th the naturale is
  answered by the durum, the molle is answered by
  the natural, and vice versa -- it maintains the
  placement of the half-step (Mi-Fa).