Counter Point

In the first task, we looked at the ways in which notes affect each other when played together, and whether they are consonant or dissonant. In the second task, we looked at cadences, or the relationship between two consecutive chords.

In this task, you will be introduced to the basics of counterpoint, where each note is considered in terms of how it affects and is affected by all the other notes around it: the notes sounded before, at the same time and after.

In a score of contrapuntal music, the notes are related ‘horizontally’ (i.e. melodically, to the other notes in the melodic line) and ‘vertically’ (i.e. harmonically, to the other notes sounded simultaneously).

Watch and Listen: Kyrie from Missa Papae Marcelli, by Palestrina, Italy (c. 1567). With score.

Before Listening consider the following:

● This piece has six different voice parts. Each voice part has its own line, and each voice part moves at the same speed to the next bar.

● Look at the shape of the line sung by the soprano.

o Can you spot this same shape anywhere else? (Yes: in tenor 1 and tenor 2)

o These three parts are singing exactly the same notes (an octave down in the tenor) at slightly different times.

● Now look at the other parts – alto, bass 1 and bass 2.

o They start on different notes from the soprano and tenors (G instead of D), but the basic shape of their lines is quite similar, with an upwards leap of a fourth.

● So, we can see that the horizontal lines – the melodic lines – are similar to each other. The relationship between what one part is singing and what another part is singing is the key to contrapuntal writing.

There are rules about the relationships between individual notes in the melodic line.

This means that each choice of note is affected by the note that came before it, and affects which notes are allowed to follow it.

Can you can spot the following in the score:

● There can be no leaps (jumps of a third or more) of more than a fifth, unless it is an octave

● There are never two leaps in the same direction

● If there is a leap, the next note usually steps back inside the leap

● The Diabolus in Musica (augmented 4th) is strictly forbidden, so they won’t see this anywhere in the score

Revision

Consonant intervals (Unison, 3rd, 5th, 6th, Octave)

Dissonant intervals (2nd, 4th, Aug 4th, 7th)

On the strong beats, the relationship between the notes should always be consonant. If it is dissonant for effect, it should resolve quickly.

Now look at the vertical relationships between the notes on the first page of Palestrina’s Kyrie.

Partner Activity

One of you read the bass line and one other will look at on of the other vocal lines.

1. What is the bass singing on the strong beats (the first and third beats) of each bar?

2. What note the other part is singing at the same time?

Write down the relationship between the notes, and whether this is consonant or dissonant.

For example:

Bass 1 and Tenor 1

2nd bar first beat: G and D (5th: consonant)

2nd bar third beat: G and G (Octave: consonant)

3rd bar first beat: G and E (6th: consonant)

3rd bar third beat: C and E (3rd: consonant)

Now listen to the opening of the piece.

Even though it is governed by such strict rules about each choice of note can affect the others (and indeed more rules than those we’ve covered!) it still sounds fluid and natural and beautiful.