All Questions
Tagged with counterpoint harmony
63
questions
2
votes
1
answer
81
views
Is this a V7sus2/V7 chord in bach?
When i was playing this prelude from bach i came across a new chord that i don't usually see in 18th century pieces
Also another question - in writing counterpoint in bach style it looks like two ...
- 409
0
votes
1
answer
102
views
can anyone help me in writing a quartet
hi i've been doing some analyzing and after learning counterpoint and 4 part harmony and studying a little about forms today for the first time i wrote a period to turn in into a ternary or a simple ...
- 409
0
votes
1
answer
20
views
moving into parallel compound intervals counterpoint
in strict counterpoint and i'm talking about fux's book
is having 2 parallel perfect intervals with contrary motion still wrong?
because in fux book only contrary and oblique motion are acceptable for ...
- 409
3
votes
4
answers
584
views
The relation between voices in piano pieces
I've been trying to understand how to identify the voices within the harmonic progression they form, after learning counterpoint and SATB harmony.
But when I'm investigating the relation between ...
- 409
0
votes
2
answers
128
views
In Organum and Species Counterpoint why is one of the voices always in whole notes?
Edit: It was pointed out to me that counterpoint spawned from the Organum style of music. For more context, here’s information from two sources I just read. “Two styles of Organum existed during this ...
- 994
4
votes
1
answer
190
views
In the musical texture “monody”, can the underlying harmony be provided with a single voice?
According to these wiki pages
(https://en.wikipedia.org/wiki/Monody
https://en.wikipedia.org/wiki/Homophony),
in Monody, ”one solo voice sings a melodic part, usually with considerable ornamentation, ...
- 994
3
votes
1
answer
191
views
What is the difference between background, middle ground, and foreground?
Is the idea of structural levels background, middle ground, and foreground only studied in schenkerian analysis?
I’m still viewing the background as the simplest layer of a song, which to me would be ...
- 994
4
votes
2
answers
147
views
Voice Leading in Göncz’s completion of Contrapunctus 14
My question relates to the attached extract from Zoltan Göncz’s completion of Bach’s Contrapunctus 14 from The Art of Fugue, and specifically the chord marked with the arrow.
To my mind, it appears to ...
- 41
1
vote
2
answers
146
views
What is the music theory term for the study of the role and rhythm of each voice in multi voice compositions?
I’m looking for the for the study of the role and rhythm of each voice in multi voice composing. For example “lead part/voice/melody or supporting part/voice/melody”. By rhythms what I mean is the ...
- 994
3
votes
0
answers
67
views
Why does Schoenberg think of "'semi-contrapuntal treatment' of the accompaniment" as a way of adapting a motive's melody to changes in its harmony?
Schoenberg says that the melody of a motive may be adapted to changes in the harmony "[b]y transposition," "[b]y addition of passing harmonies," or "[b]y 'semi-contrapuntal' ...
- 277
2
votes
1
answer
200
views
Harmonic Voices Alongside Counterpoint
I'm writing a piece for a rather large ensemble:
full string section
SATB choir plus soloists
2 of oboe, bassoon, and trombone
c-g timpani
In one of the sections, the chorus sings a fugato while the ...
- 1,626
0
votes
1
answer
108
views
Why is this augmented 4th bad ? 16th century counterpoint
I'm studying 16th century counterpoint.
My book says, when writing a melody for second species, augmented 4th or augmented 5th shouldn't occur between strong beat and a strong beat.
But this is not ...
- 1,455
1
vote
1
answer
75
views
Is consecutive 8’s on resolving the 7s in the weak beat against the rules ? 16th century counterpoint 3part 2nd and 4th species fusion
This is my exercise on 3part 2nd and 4th species fusion 16 century counterpoint.
Is consecutive 8’s on resolving the 7s in the weak beat against the rules ?
(At measure 5,6 between the soprano and ...
- 1,455
5
votes
3
answers
167
views
Can a Round Modulate?
I've been messing around with simple 2-part rounds recently, and also with modulation. The question occurred to me, can a round modulate? Initially I though not, since it would involve having parts in ...
- 299
5
votes
2
answers
213
views
the cadence in 3rd species counterpoint with 3 voices in the Phrygian mode
When the Cantus Firmus is in the 1st or 2nd voice, the bass is suppose to play the 5th note of the mode in the 2nd last bar. In the case of E Phrygian, the 5th degree is B which has however a ...
- 107
1
vote
1
answer
200
views
2nd species counterpoint in 3 parts, is it ok?
If someone would be willing to point out errors I'm making with this species, before I continue on to the others, I'd be grateful
https://flat.io/score/61d7e420658ae700133b1e72-c?sharingKey=...
- 233
3
votes
2
answers
124
views
What are some strategies one could use to put as many suspensions as possible in a chord progression?
I ask this question in the context of strict (florid) tonal counterpoint as taught, for example, by Albrechtsberger and many later writers.
Fux in his Gradus ad Parnassum recommends putting many ...
- 2,347
6
votes
2
answers
457
views
When realizing a basso continuo, should the realization avoid consecutive fifths and octaves with the written parts?
Many continuo manuals (both historical sources and modern treatises) are careful to point out that a continuo realization should be contrapuntally correct, i.e., one ought to avoid parallel fifths and ...
- 2,347
4
votes
2
answers
436
views
Is partimento a good way to learn how to write a Baroque trio sonata in the style of Corelli?
Who I am:
I am 16 years old and I play violin. I am a music student and I consider myself to have a very good ear and understanding of music theory. My piano-playing is however not very good. I really ...
3
votes
1
answer
176
views
Are the rules of voice leading and the rules of counterpoint ever at odds with one another?
I was practicing composing in an SATB setting. I had the chords voiced the way I wanted to, but there was not much rhythmic interest (everything in whole notes). So, I began subdividing the notes ...
- 1,396
1
vote
3
answers
265
views
What is wrong about this counterpoint?
I am using a counterpoint rules plugin on MuseScore, and I am having trouble understanding the issues with my music. I am wondering if I am doing something wrong or if I am not interpreting the ...
- 1,396
1
vote
1
answer
245
views
how do I add voices to compound species lines?
Update, TLDR: given multiple semi-written lines of music, which line should be deemed the cantus firmus before working on the counterpoint of the other lines?
Given a "free" (?) soprano ...
- 1,396
2
votes
2
answers
418
views
Four part Writing: When must a perfect fourth be resolved?
A bit confused at the moment regarding when a perfect fourth is classed as a consonance, and when it is classed as a dissonance. I have read here on Stack Exchange, that perfect fourth intervals are ...
- 751
2
votes
2
answers
867
views
sharp ii dim 7th: How to use?
Still here and working on part-writing. I have used a sharp ii dim7th chord, straight after iihalfdim7- leading to V. Is this actually the right place to put it in terms of chord sequence/harmonic ...
- 751
3
votes
4
answers
199
views
Are certain 4 part writing rules contradictory?
I am told that I cannot double the 3rd when constructing a 4 part triad but at the same time I am told that the only note that can be omitted is the 5th. So in a triad, if I omit the 5th, then all I ...
user35708
2
votes
2
answers
210
views
Four part writing: How to voice augmented 6th chords?
I have recently started adding augmented 6th chords to my part writing. As far as I can tell, I have not broken any harmonic rules in the displayed voicing, yet it does not sound right to me. Just ...
- 751
3
votes
3
answers
506
views
Four part writing: How to voice diminished 7th chords?
I am currently doing part writing, and have come into a bit of a conundrum. I want to use a sharp 4 dim 7 (Fsharpdim7), to link up my IV chord (FM) to my V7 chord (G7).
I know that 7ths should usually ...
- 751
6
votes
2
answers
865
views
Four part writing problem: tripled root solution. what is best practice here?
I have hit a problem with this chord change in my four part writing. We are in A minor.
The VI chord is in first inversion, so A must be in the bass. (I have made a mistake in the figure. the VI ...
- 751
2
votes
2
answers
708
views
How to think about this moment from BWV 816
I've been tasked by a textbook I'm going through to make a harmonic analysis of the G major "Gavotte" from BWV816, "The French Suite" specifically minding a handful of questions ...
- 341
1
vote
2
answers
361
views
Allowed hidden parallel octaves [duplicate]
I have read that hidden direct octaves between two voices are not always forbidden, but that there are some circumstances in which they are acceptable. As I have understood it, the following general ...
- 760