A Treatise on Simple Counterpoint in Forty Lessons Part 1

A Treatise on Simple Counterpoint in Forty Lessons.

by Friedrich J. Lehmann.

PREFACE

The purpose of this work is to supply the need in the Oberlin Conservatory of Music of a text-book on Simple Counterpoint containing a definite a.s.signment of lessons, and affording more practice than usual in combining species.

It is a treatise on strict counterpoint, but strict in a limited sense only. In two-part counterpoint with other than the first species in both parts, dissonances are permitted under certain conditions, and in three- and four-part writing the unprepared seventh and ninth, and the six-four chord, are allowed in certain ways.

While the ill.u.s.trations have been written in close score, it is nevertheless urged that all exercises be written out in open score, as the movement of the different parts is thus more clearly seen.

The use of the C-clefs is left optional with the teacher.

A knowledge of harmony is presupposed, hence nothing is said pertaining to it.

The author wishes to express his indebtedness to Professor A.E. Heac.o.x for his help and advice.

F.J. LEHMANN.

OBERLIN, OHIO, _Jan. 6, 1907._

SIMPLE COUNTERPOINT

LESSON I

Counterpoint is the art of combining two or more melodies of equal melodic individuality.

In simple counterpoint all parts must remain in the same relative position to one another.

The Cantus Firmus is a given melodic phrase that is to receive contrapuntal treatment, that is, one or more parts are to be added above or below it.

The Counterpoint is any part other than the Cantus Firmus.

Intervals are harmonic or melodic.

An Harmonic interval is the difference in pitch between two tones sounding at the same time.

A Melodic interval is the difference in pitch between two tones sounded in succession by the same voice. [Fig. 1.]

[Ill.u.s.tration: Fig. 1.]

Harmonic intervals are divided into Consonances and Dissonances.

Consonances are cla.s.sed as perfect or imperfect.

The Perfect consonances are the Unison, Fifth, and Octave. [Fig. 2_a_.]

The Imperfect consonances are the Major and Minor Thirds and Sixths. [Fig.

2_b_.]

All other intervals are dissonances.

[Ill.u.s.tration: Fig. 2.]

A Diatonic progression is one in which both name and pitch are changed.

[Fig. 3_a_.]

A Chromatic progression is one in which the pitch is changed a semitone, while the name remains the same. [Fig. 3_b_.]

[Ill.u.s.tration: Fig. 3.]

Progression from one chord to another is called Harmonic progression; from one tone to another, Melodic progression.

In melodic progression all major, minor, perfect and diminished intervals are allowed except the major and minor seventh. The minor seventh may, however, be used when harmony does not change (_a_). [Fig. 4.]

[Ill.u.s.tration: Fig. 4.]

In counterpoint there are Five Species, or orders. When the counterpoint has one note for each note of the cantus firmus, it is of the First Species (_a_); if it has two notes for each note of the cantus firmus, it is the Second Species (_b_); if four notes, the Third Species (_c_); if two notes syncopated, the Fourth Species (_d_); and a mixture of these species is the Fifth Species, or Florid Counterpoint (_e_). [Fig. 5.]

[Ill.u.s.tration: Fig. 5.]

SIMPLE COUNTERPOINT IN TWO PARTS

FIRST SPECIES

Two-part counterpoint comprises a cantus firmus and a counterpoint. [Fig.

6.]

[Ill.u.s.tration: Fig. 6.]

Although in two-part counterpoint we have to deal with intervals, rather than harmonies, still the harmonic progressions represented by these intervals should be regarded.

The exercises should begin and close with tonic harmony. At the beginning the unison, fifth or octave, and at the close the unison or octave, are permitted. [Fig. 7.]

[Ill.u.s.tration: Fig. 7.]

After the first measure it is better to use imperfect consonances only. The perfect consonances, however, may be used sparingly when a more melodious counterpoint is thereby obtained.

The unison may be used in the first and last measures only. [Fig. 7.]