COUNTERPOINT

DEFINITION:

Counterpoint comes from Latin, specifically from the term punctum contra punctum which means
note against note. Musical counterpoint consists of the combination of two independent voices as well
in rhythm like in harmony but that unify simultaneously to create a sound effect
Distant, that is to say, it combines several independent melodies and they sound very harmonious when they do.
executed simultaneously

HISTORY:

Counterpoint has been part of the tradition of Western world music since the Middle Ages.
began to develop more clearly during the Renaissance and continued its peak during the periods
baroque, classicist, and romantic, and its golden age is attributed to the late baroque with the
compositions by Johann Sebastian Bach.

PERIODS OF COUNTERPOINT:

GOTHIC PERIOD AND POLYPHONY:

En el el siglo IX surge la polifonía primitva que consista en añadir voces al canto gregoriano el inicio de
the polyphony will establish a system of proportional notation (Treatise of Franco of Cologne,
Ars Cantus Mensurabilis, which underwent variations over the centuries, will eventually create the current system.
From solfeggio. With the Florentine Camerata (15th century), it reaches its peak with Claudio Monteverdi (16th century) and ends.
with the death of Johann S Bach (1685-1750)

HARMONICA: What prevails is the vertical reading, consolidating the foundations of diatonic harmony (17th-18th century)
prominent composers (Haydn - Mozart - Beethoven) the tonal system as the axis of practice
composite. covering up to the romantic school (19th century) approximately until 1910.

DISSOLUTION OF TONALITY: It encompasses almost the entire 20th century until the present, giving rise to a great
variety of exploratory currents to unsuspected limits, giving rise to the atonal system or
atonalism

USEFULNESS OF COUNTERPOINT:

It is to give melodic interest to each of the voices by moving them with the greatest naturalness possible, which does not
It is useful not only for practicing the fugue genre, but also for free when it comes especially to
concertante pieces, vocal or instrumental, secular or religious.
TESSITURE OF THE VOICES:

CLASSES OF COUNTERPOINT:

1st SIMPLE COUNTERPOINT (technique proposed by Joseph Fux 1725): Based on the style of
Palestrina is the study of counterpoint through species of increasing complexity, rigorous or
strictly has less freedom than the other counterpoints, Fux proposes 5 species:

FIRST SPECIES: Completely avoids dissonance, forces concentration on relationships.

SECOND SPECIES: Introduce the problem of maintaining the balance of the 3 forms more
simple of linear development between 2 harmonies, static elaboration (moving to notes
neighbors), gradual development (uses step notes) and the most drastic leap movement.

THIRD SPECIES: Introduce other resources for the linear treatment between harmonies. The
sequence of 2 passing notes, combination of passing notes, embellishments, cambiata, double
embroidery and arpeggio; this technique is characteristic of the ancient tradition.

FOURTH SPECIES: It focuses on the suspensions that allow for the encounter with melodies and
out of phase harmonies in the strong beat of the measure.
 FIFTH SPECIES: Culmination of the previous ones, allows for a first approach to the
rhythmic flexibility more elaborate resources such as ornamental resolutions to the delay, are
works on the control of rhythmic impulse (without motives) and also proposes the exercises of
mixed species constitutes an introduction to stratified textures and encourages exploration of
simultaneous dissonances, maintaining a clear harmonic context.

2. IMITATIVE COUNTERPOINT: Imitation is one of the constructive principles of composition.

NATURAL AND PROGRESSIVE IMITATION: The consequent imitates the antecedent from left to
right without other mutations.

IMITATION BY DIRECT MOVEMENT: The melodic intervals of the consequent are retained
The same direction as the precedent gives imitations to the 8th, 4th, and 5th.

IMITATION BY CONTRARY MOTION: The melodic intervals of the antecedent are

RETROGRADE IMITATION (crab – or mirror): The consequent imitates the antecedent, but of
right to left.

IMITATION BY AUGMENTATION: The consequent presents the intervals greater than the
antecedent.

IMITATION BY DECREASE: The consequence presents proportionally lower values.

3. INVERTIBLE COUNTERPOINT: It is one where the upper and lower voices can be swapped.
without breaking the rules of counterpoint, this counterpoint requires a harmonic approach very
particularly emphasizing the theory of chord inversion using basic chords with their
investments.

4. DODECAPHONIC TECHNIQUE: It is based on the chromatic series, and is often written in an arrhythmic form.
applying techniques of imitative counterpoint in all its classifications, the rhythm of the melody must be
the most varied avoiding the repetition of designs, its harmony is totally dissonant, the technique to
developing is the serial fragmentation where the melodic figure of the series is always of the 12
sounds obtaining variants from other series.
RESUMEN DEL LIBRO PRIMERA PARTE:

FIRST SPECIES COUNTERPOINT:

This counterpoint is made up of one voice that performs the cantus firmus and the other contrasts it with figures of equal value.
than those of that one. It presents two different things:

1st case: C. F at the bottom.

2nd case: C.F at the top.

In the first case, the counterpoint must begin with the perfect consonances of 5th and 8th or unison.
ending in 8°, the penultimate measure must always be in the major scale even when dealing with modes
older minors and always assuming that the cf ended with the second degree that goes down to the tonic.
As for the harmony to be used in two voices, it should be such that the chosen intervals are as poisonous as possible.
sent right of the corresponding chord of each degree only up to three thirds are allowed or
Successive baskets should not have the same note repeated more than once consecutively.
5th and 8th consecutively and directly:

Consecutive 5ths and 8ths are strictly prohibited even when they proceed by motion.
in contrast to what refers to the direct fifths and octaves, we will adhere as per the
manifested in the general rules, this type of fifths and eighths is being used preferentially
opposite movement.

Voices: The best way to combine voices, whether by their character or range, is as follows:
soprano and alto, alto and tenor, tenor and bass or soprano and tenor, counter alto and bass.
Reciprocal separation of the voices: the normal separation that the voices can reach between themselves is
which corresponds to the interval of 12° (compound 5th) but for various reasons is frequently
extend this limit up to the 15th (double octave).
During the composition process, only consonances should be used and preference should be given to
the imperfects (3rd and 6th).

The using should not be avoided because it interrupts the polyphony in terms of perfect consonances of fifths.
Eighths will only be used in special cases or when a good melodic movement demands it, as these
intervalos dan una sensación armónica en completa la 8vas resulta más vacía que la 5ta pero usada
The tonic to the dominant is generally quite good.

about the third degree can also be used by joint degrees and opposite movement when
a good melodic line justifies another so much can be determined concerning the second and the
sixth grade this last in major mode.