Polyphony of the end of the Renaissance - basic elements

I.! The modes: p.2

II.! Melodic writing: p.6
III.!Counterpoint for 2 voices : p.10
IV.! Counterpoint for 2 embellished voices - 'free' counterpoint: p.22
V.! Imitation : p.30
VI.!Counterpoint in 3 voices: p.44
VII.!Counterpoint for 4 voices: p.59
VIII.!Prosody: p.65

Sources

!!Giuseppe Zarlino: 'Harmonic Institutions', part. III, 1558 (Edition: Yale University Press - in English)

!!Peter Schubert: Modal Counterpoint: Renaissance Style, 2008 (Edition: OUP USA)

!!Peter Schubert:Baroque Counterpoint, 2005 (Edition: Pearson)

!!Knud Jeppesen :« Counterpoint – The Polyphonic Style of the Sixteenth Century », 1939 (Edition : Dover 1992
- in English).

Olivier Trachier: "Memory Aid of the 16th Century Counterpoint," 1994 (Edition: Durand 1995).

!!Roland de Lassus: "Cantiones Duûm Vocum", 1532-1594. Presentation and analysis by Olivier Trachier (Edi-
tion: Durand 1999).
"

I. The modes
•The music of the 16th century is modal.

•The modes are built on the natural scale and each contains eight notes of an octave.
This presents a particular sequence of whole tones and half tones.

•The 'final' is the note that ends a modal melody. It is what determines the mode.

•In the Middle Ages, 4 finals are used (re, mi, fa, and sol). Around these 4 final notes, it is constituted ..
the eight ecclesiastical modes or Gregorian octoechos.
•Medieval modes are conceived from the addition of a fifth and a fourth, forming
the modal octave.
•These two "formants" can be arranged in two ways. The modal octave can therefore have
two aspects:
The 'authentic' aspect. In this case, the final note is located in the low part of the modal octave.
The 'plagal' aspect. In this case, the final note is located at the center of the modal octave.
The 'tenor' is the pivot note of the psalmody tones associated with ecclesiastical modes.

...Furthermore, when we hear someone sing, we do not know which mode it belongs to.
his first note since we do not know if they are tones, half-tones or other inter-
valleys that follow it. But once the song is finished, we clearly know the mode of the
last note thanks to the previous notes, because at the beginning of the song you ignore what follows, at the
Well, you see what came before. So it is on the final note that our attention is most focused.

Guid d'Arezzo - Micrologus, circa 1026

May your servants sing / With a vibrant voice / The admirable deeds / Of your glorious actions. / Forgive the heavy
mistakes, / From their hesitant tongues / We beseech you, Saint John.)

2"
"
The eight ecclesiastical modes of the Middle Ages (octoechos)

wfinale› content or "recitation string"

3"
"
During the Renaissance, the modes are conceived within the entirety of an octave (heptatonic scale) and
nor by the addition of fifths.
In 1547, the Swiss Glareanus published his treatise "Dodecachordon" in which he added four
modes ending in E and C:

These recent modes are important because they mark an evolution towards the
tonality, the Ionian mode giving the major, the Aeolian mode giving the minor.

In polyphonic music, the simultaneous use of different tessituras tends to eliminate the
distinction between authentic and plagiarized forms.

Read a mobile note. It can be or.

The heptatonic scale can therefore be presented in two forms: altered or natural.

The Lydian mode is most often presented as a transposition of the Ionian mode, through the addition of
This is to avoid the tritone (augmented fourth) that appears between F and B.

4"
"
Ultimately, we will work in the following five modes:

Cadences
The cadence is a melodic turn used at the joints of musical discourse.
highlights a degree of the mode. It is often followed by a pause on this degree and a breath.
ration.

The main cadential turns encountered in the bicinium (writing for two voices) are useful.
smells like the combination of upward and downward joint movements:
The descending motion, called 'tenor cadence', was the most important.
until the Renaissance.
The rising movement, called 'soprano cadence', is gaining ground in
16emcentury.

-L’usage voulait que l’un des deux mouvements conjoints soit un demi-ton, préfigurant la notion
desensitized. For certain rhythms, the use of it becomes necessary.
This half-tone is generally associated with the soprano cadence, except for the Phrygian cadence.
gienne (the descending semitone - the leading note is thus superior - gives the Phrygian cadence
a very recognizable particular color

5 inches
"

II. Melodic Writing

The voices

By convention, counterpoint is worked in the ranges of the four traditional voices:

In comparison to the style of Palestrina, these tessituras are too extensive. Generally, one adhered to
a 'preferred zone' within the octave with a possible extension to the tenth.

Melodic movements

The vocal music of the 16th century adheres to the most natural laws of singing. As a result, it
tends to eliminate any impression of disharmony. A melodic drawing is felt in its im-
Physical and physiological applications. Thus, an ascending fifth is not just an interval.
Given between two sounds, it is an effort upwards, and it may be interesting to ask oneself the question.
to know on what basis this effort can be made. The following rules cannot be com-
taken if we try to feel their effects in the field of singing. Thus, we avoid two
jumps in the same direction, because the natural tendency, after an effort in one direction,
is to seek compensation in the opposite movement.

A melodic movement can use the following intervals:

Joint degrees (minor and major seconds),

- The thirds (major and minor),
The perfect fourth,
The perfect fifth,
The ascending minor sixth,
The octave.

All the other intervals (the augmented fourth, the diminished fifth, the major sixth, the seventh-
Tenths, ninths, altered intervals, etc. are not used melodically in this style.
The sixth is used only in one form: ascending and minor:

Blessed is the Man

Disjoint movements should be handled with a physical awareness of the 'weight' of the melody.

6 inches
"
The upward movement is associated with an effort, the downward movement with a relaxation.
relaxation.

It is therefore not natural to chain two upward jumps in the same direction, if the second...
Each jump requires more effort than the first (e.g. e and f)
For the same reason, we avoid following an upward jump with a joint upward movement.
dant (ex. g and h).
One must also take into account the speed of the movement to properly understand the effort of-
I sent. Examples b, c, and h are only good if the movement is slow (rounds or whites).
Examples:
In example a) the melodic line is very good because the effort is naturally distributed in the
time, the jump being at the beginning of the overall upward movement:

a)

Well, if the movement is slow: Bad:

b) e)

f)
c)

g)
d)

h)

One avoids making a downward movement after a downward jump. This creates a sag.
from the line:
Bad

7"
"
The ideal is to balance the effects of the movements and jumps contained in the melodic line.
usually after a jump in one direction, we expect a movement in that direction
opposite.

Good:

This applies particularly to the octave leap (the largest melodic interval)
sible).
Good: Bad:

We avoid indeterminacy, systematic or unintentional repetition of fragments.

Bad (too repetitive):

Bad (indeterminate melodic line, "stagnant" around the F)

Alterations
Regardless of the mode, it is possible to soften a melodic contour by using the sharp F.
or of the flat B.
In the following two examples, alteration is necessary to avoid the sensation of tritone.

Good:

In other words, the two terms of a tritone must not correspond to the extreme notes of a
melodic contour

Bad:

"

"

8"
"

In the key of A, the F preceding the G must also be sharp (melodic scale).
In general, we will reserve these alterations for the cadence:

Example (Palestrina):

Three steps can be observed that follow each other very naturally:
a climb made of long values and large intervals,
An ornamental passage made of a movement of black notes turning around the climax,
the high D
- a gradual descent bringing the melody back to its starting point with values
new glasses.

We can outline this melodic line in this way:

With all due proportions, a song given like this accomplishes the same program:

There are of course an infinite number of melodic forms. But it is worth paying attention to the
the place that the culminating note will occupy. Placed two-thirds of the way through the sentence, it can be reached by
several waves. Placed rather towards the beginning, it could be followed by a long descent.
I am not.
We can draw inspiration from drawings of this kind:

9"
"
III. Counterpoint for 2 voices

The word counterpoint is a simplification of the expression "point against point" (punctus contra)
punctum) which defined the first theoretical attempts at polyphony, note against note. For example-
One can define counterpoint as the art of superimposing melodic lines.
Counterpoint is the art of making melodic lines sing in apparent independence.
overlaid, in such a way that their simultaneous hearing clearly perceives, within
of a coherent set, the linear beauty and the plastic meaning of each of them, all while
adding an additional dimension, born from its combination with others.
Encyclopaedia Universalis
In the counterpoint of the Renaissance, this superimposition is harmonized according to rules of con-
well-defined sounds.

Consonances and dissonances

The following intervals are considered consonances:

Perfect consonances:
Unison.
Perfect fifth.
Octave.

•!Imperfect consonances:
Third (major and minor)
Sixth (major and minor)

- The following intervals are considered dissonances:

!Dissonances :
Second (major and minor)
Perfect fourth.
Seventh (major and minor)

Augmented and diminished intervals are not used.

Two-part melodic movements

- In order for each voice to be present and distinct from the others, they often adopt molds.
additional movements:
We favor opposing movements.
Parallel movements are possible but do not generalize in the drawing.
lodique.

For the same reasons, certain types of chaining should be avoided:

Consecutive fifths and octaves must be avoided absolutely!
Bad

10"
"
In general, the fifths and octaves reached by direct movement (it is to
to say: the two voices moving in the same direction) should be avoided in two voices.
Bad:

We avoid line breaks as much as possible.

To avoid:

To understand the different aspects of this style in depth, we will first work on it from
progressive manner, using the system of species.

Counterpoint by species

We use a cantus firmus (ouchant donné): a pre-existing melodic line to which we

add an original melody.
The original melody can be located above or below the cantus firmus (C. F.).
- The C. F. is generally written in long values. To begin with, it will be written only in
rounds, which for us will correspond to autactus*.
Each species studies a certain rhythmic situation encountered in the writing of the Renaissance.
Indeed, for each species we will write the original melody giving it a rhythmic aspect.
determined. Regardless of the species, the C. F. remains round.

•All species:
If the C. F. is at the lower part, the original melody starts at the upper octave.
laughing or to the higher fifth.
If the C. F. is at the upper part, the original melody starts in unison or at
the lower octave
In any case, we end with a cadence. The last interval will therefore be a unison.
sound or an octave.

Letactus corresponds to our 'time' (beat). It was clearly referring to the beat of the
heart, hence the term pulsation. This word also referred to the two movements of the hand to
direct the polyphony: 'positio' (strong beat / down-beat) and 'elevatio' (weak beat / up-beat).

11 inches
"

1eraspecies: the original melody is in whole notes

Vertical encounters occur in consonance (perfect or imperfect)

We favor imperfect consonances (thirds and sixths), richer than the conso-
perfect intervals (fifths and octaves).
Perfect consonances are discreet, generally they are taken in a movement.
opposite and spouse
Good:

Examples:

2thspecies: the original melody is in half notes.

The whites correspond to the strong and weak beats of the beat ('positio' and 'elevato')
uncle »).
Generally, the whites are in harmony with C. F.

When the second blank of an untact is a passing mark, it does not need to be
consonant.
Examples:

12"
"
3thspecies: the original melody is in quarter notes.
Consonances
•!Les règles de consonance précédentes restent valables : les noires qui tombent sur « po-
site » or « elevation » (strong times or weak times) are consonants.

The blacks that come between two (in parentheses on the diagram) are notes pu-
ornamental appointments: most often they are taken in embroidery or in passing notes,
which implies a joint movement. They do not then need to be consonant.
If these ornamental notes are taken by a disjoint movement, then they are conso-
nantes.

Melodic movements
In an ornamental movement in black, the melodic writing is the object of attention.
particular
Three rules must be followed carefully:
An upward jump is always preceded by a downward movement.

A downward jump is always followed by an upward movement.

3.! The ornamental notes (that is to say the 2thand 4èmeblack of untouchables) are almost
never accented. Therefore, we avoid reaching them by an upward jump or syn-
copper
Bad:

13"
"
Special cases
Here are two melodic forms particularly appreciated during the Renaissance that escape
Relying on the previous rules:
The passing grade on time:

- Dans un mouvement conjoint et descendant, la 3thblack duke (who falls on 'ele-

watt) can be considered a passing mark and therefore does not need to be
consonant.
Good:

2.! The "changed note":

The second note of this phrase, although followed by a descending jump, can be
assimilated to a passing grade and therefore does not need to be consonant.
This is understandable if we make a comparison with the following phrasing, perfectly
correct but a bit stiffer. We notice that the 3thand 4thblacks were exchanged:

The 'changed note' can appear in various rhythmic forms:

14 inches
"

4thspecies: the original melody is in half-note syncopation.

•!It 'means' to 'extend' a 'white' (or 'a round') on the next tactus!

•If the extended note remains consonant on "position", the situation is the same as that
encountered in the second species: the note falling on "elevatio" will also be a
consonance.

Dissonances – slows down

•If the prolonged note becomes dissonant on "posi tion", it is then considered as
a delay must be resolved by a joint and downward movement.

•!The most common "dissonances" are the seventh (major and minor) and the second.
(major and minor). They will then be delayed respectively by the sixth and the
tierce":"

•!The "fourth" can also present itself as a delay of the "third." The dissonance is
alors"à"la"voix"supérieure":"

15"
"

•!Two"voices,"we"will"mainly"delay"the"imperfect"harmonies,!the"harmonies"
perfect! being 'too' hollow 'to' be felt 'as' resolutions:

Bad :

•!Dissonance is never an augmented or diminished interval. One will notably avoid it.
displace a triton in place of dissonance
Bad:

Examples:

16 inches
"

5thspecies or Floral Counterpoint: the original melody is rhythmically free. It combines

so the situations studied previously.

•The rhythm, studied so far in a uniform way, was a way

ignoring it will now be considered in its relationship with the melodic contour. However
these reports are infinitely delicate. Melodic contour, rhythm, these two elements
are inseparable at the level of musical expression. We are forced to separate them.
momentarily to formulate some rules, but in fact, they must always be
designed in a global manner.

Rhythm and melodic movement

To understand the aesthetic to which rhythmic writing is attached, let's first take
the example of a pure melodic line.

Here are two very different ways to set a rhythm to this melody:

Version a) does not correspond to Palestrina's style:

The rhythmic formula by its repetition, creates a fragmentation of the line

melodic. Chaquetactus is highlighted by this repetition. The rhythmic pulse takes
therefore it itself has a very great importance, this to the detriment of the melodic outline.

Version b) is by Palestrina:
Letactus is only marked at certain chosen moments: at the beginning and at the end of the line. It is noted
At the center of this melody, however, the cacti are much more discreet: they are caught in syncopation.
or in prolonged movement of black. The variety of these rhythmic turns allows for
evidence the shape of the melodic contour which is then perceived as a whole, a continuity.

17"
"

Dactile – Anapeste
The rhythm of dactyl is poor if it marks a pause on the following tactus:

It is excellent, however, if it is followed by a movement of black pieces:

The rhythm of anapest strongly marks the tactus:

It is good in three forms:

a)!Preceded by at least one black
b)!Prolonged"with"a"syncope"
c)!The"first"black"related"to"what"precedes"

Syncopes
•During a syncope, the second duration is always shorter than or equal to the first:
Good: Bad

•The "durations" used must not correspond to 5, 7, or 9 beats. These durations imply!
a connection that was not used in the 16th century.
Non-existent durations in the 16th century:

Crochets
•!The "crochets" are purely ornamental. They appear only in the place of a eme"

ou"4th"black," "always" in "joint movements":

18 inches
"
Retards
•In case of a delay, the dissonance is always on 'position' (strong time) and the resolution
on "elevation" (low time).
•!The"resolution"is"therefore"always"in"the"place"of"the"second"white"of"the"tact.

Bad :

Examples:

19"
!

Floral Counterpoint with a C.F. in 'short' (or 'square')

•In literature, the cantus firmus is often in long values.

•!The previous rules remain valid but must be adapted to this other metric:
Each brief contains two rounds; both must be consonant.

Each brief contains four whites; the first and third are consos-
In music, the second and fourth are consonances or passing notes.
Each brief contains 8 blacks; the 2ème, 4th, 6thand 8thare passing notes,
embroidery or consonances. The uneven black notes are consonances.

•Delays can only be prepared at the end of a brief, and resolved after the beginning of
the following (except for the exceptions below).

•We can use the following cadences:

$!With a doubling of rhythmic values (4èmeaugmented species):

With a "false" delay, that is to say a delay whose preparation is itself disso-
I swim

Sometimes the resolution of the delay can itself be adorned by a 'false partial delay.'
nué" (whose duration is twice as short):

! 20!
!
Examples:

(Jacques Colebault, known as Jachet of Mantua)

Costanzo Festa

! 21!
 IV. Counterpoint for 2 embellished voices, or 'free' counterpoint

We now abandon the C.F. to approach two freely written rhythms.

All the rules presented so far remain valid, but new situations may arise.
present the fact of the relationships between the respective rhythmic notations of the voices.

Generalities

•When black people meet black people, or white people meet white people, we ra-
leads the writing to that of a first species: all encounters must be conso-
Nantes.

•In some cases, two adjacent lines going in the same direction, an offset is established.
possible elevation, creating a brief dissonance :

•Perfect consonances can be achieved by direct movement if:

One of the two voices moves by joint movement.
The vertical interval immediately preceding the perfect consonance is itself conso-
a white note.
possible bad

•In the case of a delay, the voice that creates dissonance can move during the resolution of the delay.
surelevation

•The blacks can be repeated:

To soften the rhythm of a melody:

! 22!
 As anticipation. This can be found in one of the voices, or in both voices simultaneously.
In general, anticipation comes from a downward movement, corresponding to the two-
black quarter note of the tactus. It is generally followed by another quarter note and a pair of
crochet, or a white one.

(Lassus)

•A dissonance can be attacked if it results from the rearticulation of a note.

In the case of a passing grade on time:

In case of a delay, when the white syncopation is broken, the note is then re-articulated on
position. This generally occurs when the text presents a new syllable.

•!The figures specific to the 4 thspecies (syncopes) can be presented at different levels
rhythms.

In the following examples, we observe syncopations of quarter notes. In fact, the elements of the
retard (preparation, dissonance, resolution - PDR) are reduced by half: the principles
usually applying to whites, apply here to blacks. We can therefore speak
of athdecreased species.

(Lassus)

Morley

! 23!
 In the following examples, the delay elements are increased by half: the principles
usually applying to the white ones, apply here to the round ones. We can therefore talk
of one4thaugmented species.

(Morley)

(Bancchieri)

Cadences

Fundamental Turns
Disposition type

•The arrangement of standard tempos is obtained by combining tenor tempos (t) and those of...
prano (s) on the same degree. It involves a double arrival at the octave or unison by move-
On the contrary. The first solution is stronger than the second because it leads to 8ve,
the only true perfection, and that it maintains the rhythms in their own places, that of the superius
(or soprano) in the upper part, and that of the tenor in the lower part.

Phrygian cadences

•While driving to the note Mi, the tones and semitones reverse in the soprano cadences and
tenor; we will replace the indications and parts.

! 24!
•!By transposition, this also applies to la, ré, and (rarely) si natural:

Presentation

•!The cadences are often preceded by a melisma:

•They are frequently decorated, especially the soprano cadence:

•The syncopation of the soprano cadence can be approached in different ways:

etc...

•Sometimes the rhythms appear without syncopation and without embellishment, in whole notes or in half notes.
These rhythms are said to be simple, as opposed to diminished rhythms.

! 25!
Examples:

-!Cadences brought with a passing note on time:

2.!Special turns
Another pair of cadences leading to the octave

In the following example placed in the upper voice, it is accompanied by a leap of a fourth.
ascending or descending of 5th. It is a bass cadence (b). It will be encountered.
more systematically from 3 voices. It foreshadows the perfect cadence of harmony.
tonal, where the bass movements play a functional role.

Cadences on the 3rd or the 5th

•Sometimes one of the cadences veers off and heads towards the 3rd or the 5th of the cadential degree.
These phrases are called imperfect cadences. They are rather intermediate than fi-
nales.

! 26!
Supplement on the final pedal
•It also happens that after a cadence one of the voices holds the final note, while the other continues its
path before joining her in turn. We then talk about the supplement on the final pedal:

(Lassus)

Cadences évitées

•The avoidance of rhythms is used to ease breathing and ensure continuity of

speech by disturbing the cadential structures. The cadences can be broken, inverted-
sight, diverted...

Broken tenor cadence:

Tenor cadence reversed without being followed by a rest:

Unexpectedly turned tenor cadence, jumping to an unexpected consonance:

! 27!
 Counterpoint on a pre-existing melody

•A common practice in the 16andcentury, consisted of extracting a melody from a piece

polyphonic, and to add a new original voice to it.

Here are two arrangements for 2 voices of a melody taken from the 3-voice song 'Amy, suffer that'
I love you" by Claudin de Sermisy (France, 1490 – 1562).

-!Version attributed to Costanzo Festa (Italy, 1495 - 1545):

-!Version assigned to Antonio Gardane (France / Italy, 1509 – 1569):

The comparison of these two examples shows a very free work compared to the original of
Sermisy.
In this type of exercise, we will focus on:
Opportunities for imitation (without making it an obligation).
Opportunities for rhythm.
The complementarity and rhythmic variety.

! 28!
Example: realization based on a melody taken from the treatise Compositions Regelnde Jan Pieterszoon
Sweelinck (Netherlands, 1562 – 1921).

1.!Sing the melody.

2.!Observe the range of the melody, and choose that of the new voice (here the melody is in
Dorien Plagal - ambitus of an octave between A and A. We decide to place the new voice
in a similar range an octave lower
3.!Identify the cadences (hooks – these are generally the soprano cadences), and carry out
the ones by completing them (tenor cadences).!

Identify the possibilities for imitation (hooks - this is not always possible).
5.! Identify the syncopes and the possibilities for delays.

6.!Complétez en tenant compte des tournures rythmiques de la mélodie originale.

! 29!
 V. Imitation

Generalities

At 16eIn the century, imitation is mainly used in florid counterpoint.

One can find:

Imitation by straight movement.
Imitation through contrary movement.
The imitation by inversion or reversible counterpoint.
-!The proportional imitation!(rare).!
Imitation by retrograde movement (rare).

•The antecedent (the voice that comes first) can be called: dux, guide, model, subject.
•!The consequent (the voice that imitates) can be called: comes, resolutio, companion, consequent-
sequence, reply, response.
•There are two types of responses:
Lafuga, which reproduces the model exactly (in terms of half a tone) in unison, the octave,
fourth or fifth.
The imitation, which reproduces the model with a displacement of the original half tones, without addition.
systematic accidents. This occurs particularly when the imitation takes place at
Other intervals than those that have just been mentioned.

subject fugue in the 5th octave imitation of the 2nd lower class

Imitation by straight movement

Imitation continues, or canon

•Imitation continuously reproduces the entire model accurately and can fill the space.
of a whole piece:

•!The most common imitation intervals are the unison, the octave, the fifth, and the fourth.
•The distance between the entrances is measured in whole numbers of tactus. You can also find ca-
no to the white.
•The continuous imitation can be presented on a single staff, provided with the necessary indications.
Canon, the rule, shows at what interval and at what distance between the consequent:

Canon 'in hypodiapente' (at the 5th below):

! 30!
Partial achievement:

Antoine Brumel

•Imitation, usually regular, is of the type fuga; imitation with displacement of

½ tons of origin is less common.

Free imitation

•!In a free imitation, the dimension of the response can vary by a whole period (voice
superior to the following example), to a brief initial motif (lower voice of the same example).

•Imitation can occur at any interval, but unison, octave, fourth, and fifth are
much more frequent than the 3rd, the 6th, the 2nd and the 7the.
•The consequent often has more of the aspect of imitatio than of fuga; it can involve frequent ..
hot mutations.
•Mutations, point modifications in imitation, can be rhythmic in nature.
(shift of notes), melodic order (changes of intervals) or both:

Model Rhythmic mutations Interval mutations Combination

•In some cases, it is the theory of modal octaves that dictates the choice of the replica.
The first notes of the consequent often show a change in interval.
Head rotation. This operation aims to preserve the division of modal octaves into two.
parties: a 5th and a 4th. The extreme notes of these intervals respond to each other.

Example (Palestrina):

! 31!
 Imitation by contrary movement (reverse or backward)

•The imitation by contrary movement can be of the type fugaouimitatio. It involves gen-
rarely few mutations, and is only rarely treated continuously.

Examples (Lassus):

Imitation by inversion, or reversible counterpoint

•The imitation by inversion is achieved by permuting the order of superposition of the voices.
before the principle of reversible counterpoint (or double counterpoint).

•!The reply is of the fugue or imitation type; its continuous imitation treatment is rare, the
mutations are not common.
•The first voice is often a cantus firmus, contrasting with the second, which is more 'florid'.
•For the inversion of intervals, three common solutions arise: at the octave, at the tenth.e,
at 12e.

! 32!
Invertible counterpoint in the 8th

•If you transpose one of the parts to the 8th octave, you get the following correspondences:

Note: the 5th graders become 4th graders.

Reversible counterpoint in the 10the

•If you transpose one of the parts to the 10th, you get the following correspondences:

Note: the 3rds become 8ves / the 6ths become 5ths

Reversible counterpoint at the 12e

•Yes! Transpose one of the parts to [Link] obtain the following correspondences:

Note: the 6th graders become 7th graders

Examples (Lassus):
Reversed counterpoint at the 12th

Inverted counterpoint at the 12th, then to the 8th

! 33!
 Proportional imitation

•Proportional imitation lengthens or shortens the notes of the model.

•!Imitation through multiplication increases the original values.
•Imitation by diminution divides the original values.

(Lassus)

•The most common arithmetic ratio is from one to two.

•Proportional imitation is frequently used in the 16the s., but its use is generally
not very systematic.

The following example is a measuring (or proportions) canon. This means that a
the same phrase is read by different voices, in different rhythmic proportions,
all while respecting the principles of consonance specific to the style.

! 34!
Achievement:

The tenor (middle voice), a fourth lower than the superius (upper voice), is in values.
integrals.
The bass, at the lower octave of the superius, is in double proportion to the tenor.
The soprano is in sesquialter proportion to the bass and triple that of the tenor.

! 35!
 Imitation by retrograde motion

•Imitation by retrograde movement, called crayfish or cancrizans, is rare.

16ecentury.

The following example is taken from the Mass "L’homme armé sexti toni" by Josquin des Prez.
superimpose!three!writings!in!2!voices.!!
The two upper duos are unison cannons:

As the title of the mass indicates, the C.F. is the very popular secular song The Man.
Armed

! 36!
The lower duo presents this CF from different angles, combining a straight reading and a...
retrograde version of the song:

! 37!
 Writing a canon

Enigmatic canons

Solving enigmatic cannons allows us to approach the way of thinking about music of the re-
birth. This implies visualizing the possible combinations of melodies, imagining the mu-
that is not written.

Example 1: Simple enigmatic canon – find the interval of imitation and the offset.

The interval of imitation is the unison, the 4th, the 5th, or the octave, either lower or higher.
The offset is an integer multiple of the round.

Solution :

Example 2: Enigmatic canon by inversion.

The beginning of the consequence is indicated by the sign %, the end of the consequence byU.
The interval of imitation is the unison, the major third, the perfect fifth, the minor sixth.
or the 7esuperior.

Solution:

! 38!
Composition of a canon

Here are the steps of a simple method applied to writing in [Link].

1.!Write a short fragment. Its duration will correspond to the offset between the antecedent and the...
sequential.

2.!Copy this fragment to the other voice by transposing it according to the interval of imitation that you
have chosen.

3.!Add a counterpoint to this first fragment.

4.!Copy this counterpoint into the consequent. Repeat the process as many times as you
want.

Your barrel can easily keep going like this forever! However, it must pay off from a ...
or another at a pace.

! 39!
To allow the cadence to arrive, one of its components (soprano cadence or tenor cadence)
must be present in the antecedent before her.
A good way to bring a rhythm to a canon is to write backwards:

1.!Write the tempo.

2.!Copy one of its parts (here the tenor cadence) into the antecedent, transposing it.
in the chosen imitation interval.

3.! Complete the passage by writing a counterpoint to this transposed tenor cadence.

We can then continue to write backwards... forever! The last problem is therefore to
link the beginning and the end.

Let's try to connect the two previous examples. The missing parts are found between the
crochets.

The main difficulty is that between the twothemescrochets, we must find the same fragment
what between the 1erscrochets, transposed to the 4th octave. The fragment already written during the work at
Unfortunately, we cannot take a step back as it is.

Possible solution:

In some cases, there is no solution. One can then imagine a different link to the ...
dence.

! 40!
 Free writing of a bicinium (piece for 2 voices)

We are now writing a play based on a head motif.

•The play will consist of several chained sentences.

•The reasons for departure can vary from one sentence to another.
•Each sentence must end with a cadence, conclusive or not. The table below
indicate, for some modes, the most common uses.

Finale: final note of the mode (here in its natural version)

Initials: Initial notes of the mode, the notes by which the piece begins in the.
your part of the cases.
- Frequent cadences / Rare cadences: indication of cadential points more or less useful
related to the general mode of the piece. In principle, the last cadence of the
piece leads to the final note.

Mode Finale Initials Frequent cadences Rare cadences

Dorien re re - the re - fa - la sol - do
Phrygia me me - the me – sol – la do - re
Mixolydian sol sol – re sol - do - ré the - my
Wind energy the the - my la – do – mi D–G
Ionians do do - sol do - sol - la my – king

! 41!
Example 1: Writing the first sentence of a bicinium from this given motif:

In the largest part of the sentence, we revisit the principles of canon development. Here
imitation is in harmony:

The "new phrases" most often begin on a lift, that is to say on the second.
white of untact (elevation). Their head motifs can be freely imagined, or inspired
look for other given patterns.

Example 2: Use of the same head motif, but with an imitation at the 5th above:

! 42!
 Example 3: In this example, the consequence begins before the end of the given pattern.

Motive:

Realization: imitation in the 4th below, 1 round of shift:

Example 4: In this example, the consequent comes to a dissonance and generates a re-
late.

Motive:

Realization: imitation at the 4th below, 2 rounds of displacement:

! 43!
 VI. Counterpoint in 3 voices

General rules

•With three or more voices, we have the same consonances as with two voices, but they are desired.
wise in their relationship with the bass.
•The theory of the Renaissance does not yet speak of chords and their inversions. By
For example, the chord C-E-G is not considered as the first inversion of the chord.
perfect sol-si-re, but as an autonomous harmonic entity, good because both
The upper voices are in consonance with the bass.

•!The intervals of the fourth, augmented fourth, and diminished fifth are now set-
sibles between two voices, neither of which is located in the bass.
•The intervals of second and seventh remain dissonances, regardless of their position.
in polyphony.
•In modern terms, we therefore have all the major and minor 'chords'.
fundamental position and in position of third and sixth.

a) Consonant b) Dissonant c) Bad

•In example b, the dissonances involve only two voices. They can be
Stunned like delays:

•The diminished chord (example c) is not used in root position since it ...
applies a diminished fifth interval with the bass; it is possible in position however
of third and sixth.
•Harmonic arrangements can be tight or wide, complete (three notes different...
rents) or incomplete. In this case, notes are repeated.

! 44!
•!The delays 9 - 8 (or 2 - 1) and the delays 4 - 5 become possible if we consider a cons
imperfect balance at the time of resolution.

Good: Bad: Good:

Good:

•A delayed note should not be played at a higher pitch when the resolution occurs.
tion.

Bad : Good: Good:

•A voice can enter on a note creating a dissonance, thus causing a delay.

(Palestrina)

! 45!
 Models

False bordun

•The fauxbourdon is an improvisation technique used in the 15th century. It consists of

essentially to amplify a CF through 'sixth' chords. This type can be found
of writing in certain passages of 16th-century music.

•The CF is placed in the upper voice (cantus).

•The lower voice (tenor) begins and ends each phrase an octave below the cantus, it
is placed in parallel sixths with the cantus for the rest of the time.
•The middle voice (alto) sings a fourth below the cantus from beginning to end.

Examples :

The first two sentences and the last in false bass:

This type of parallelism is sometimes found at the end of the 16ththcentury

(Victoria)

! 46!
Model in parallel sixths

•In this model, the soprano and the tenor move in parallel sixths, as in the false
bourdon.
•The third voice this time is the bass. It alternates between fifths and thirds.
under the tenor.

Examples:

Model in parallel thirds

The two upper voices of the model in parallel sixths can be inverted. The sixths become
so from the 3ces. The texture is then more compact.

In the following example, observe:

In their parts, the 2 upper voices, almost always in thirds, can be inverted.
(why ?).
The frequency of a particularly good disposition in 3 voices: the triad in root position.
tal (X).

(Michael Praetorius)

! 47!
Model in tenths parallel

In the following example, the extreme voices move in parallel tenths.

To understand the central voice, one must refer to the rules of invertible counterpoint.
10thIn the correspondences, the 3rds become 8ths, and the 6ths become 5ths.
There will therefore never be 6th or 3rd parallels between extreme parts and the central voice.
trale.

Here are two common progressions:

! 48!
•These models are frequently found in the French directory of secular songs.

The two following examples present a nice alternation of models in 3ces, 6tes, and [Link]
parallels :

(Anonymous)

(Claudin de Sermisy)

! 49!
 Cadences

1.!Fundamental turns
Disposition type
In three voices, we find the model encountered in two voices (soprano and tenor cadence). The
The third voice can be added in different ways.

•The most conclusive combination is established as follows: the tenor cadence (t) is placed at the
mid voice, the cadence of soprano(s) to the upper voice, and the lower voice presents the
bass cadence (or bassus -b) by jumping a 4th ascending or a 5th descending:

Examples:

Derived dispositions
By permutation, the soprano and tenor parts move towards unison:

! 50!
•The cadence couple can be disposed between the lower voice and the upper voice.
(a) or between the lower voice and the middle voice (b). In these cases, the third voice leads to
on a 5th or a 3rd above the final note.

a)! b)

•!The rhythm can be reduced by half and presented in half notes:

•It can also be increased and presented in square form. In this case, the false delay is...
wind used during a conclusive cadence: the preparation of the soprano cadence form
a fourth with the bass. Some theorists call this a consonant fourth:

! 51!
Phrygian cadences
The disposition type is not possible in the case of Phrygian cadences. Indeed, you ...
cannot be accompanied by the lower voice: this would create a fifth interval
diminuée.

Impossible:

•In general, the combination concerns the lower voice and one of the other voices. The three-
The sixth voice moves to the 5th or the major 3rd of the bass.

•!Sitting is placed in the upper voices, the lower voice describes a jump of a 4th.
descendant or from the 5th ascending to the 5th lower of the tenor. In this case, the lower voice...
the laughter does not lead to the final grade of the mode; this cadence is still considered as
conclusive

! 52!
2.!Other cadential structures

Avoided cadences

•The principles are the same as in 2 voices. Here are some examples:

-!Broken / offbeat cadence:

-!Cadenceb diverted. Here the lower voice reaches the 3rd below the middle voice,
as in the future 'broken cadence' tonal:

-!Cadence diverted to the lower voice, jumping to an unexpected consonance:

Distorted cadences to the upper voice, continuing uninterrupted. The cadence

lower voice is muffled / off-set:

! 53!
With 2 voices, the final can be held and give rise to a supplement. The other voices
continue their paths, surrounding it with harmonies.

Phrygian cadence with an addition:

(Sermisy)

Intermediate rhythms sometimes interlock with the start of a new phrase:

Lassus

! 54!
 Work with Cantus Firmus

Examples of achievements (5thspecies) :

! 55!
In the following example, the two free voices begin with an imitative duo that reprises the 5 pre-
my notes of the C.F. (re-ut-fa-mi-re).

Gioseffo Zarlino

! 56!
Work with a C.F. in squares
In this example, we can notice several intermediate rhythms, more or less conclusive.
sives :

Costanzo Festa

! 57!
In the following example, Tomas Luis de Victoria uses the Gregorian hymn Ad cœnam Agni providi.
like C.F. to the higher voice.

! 58!
 VII. Counterpoint for 4 voices

General rules

•!Les règles exposées pour le contrepoint à 3 voix restent valables.

The consonant arrangements can only consist of 3 heights, the double-
Mentions are inevitable.
In the event of a delay, certain provisions may consist of 4 heights:

Models

Model in parallel sixths

This is the same model presented as in the 3-part writing, expanded with a [Link].

The soprano and the tenor move in parallel sixths, like in fauxbourdon.
A third voice, the bass, alternates between the 5th and the 3rd below the tenor.
The fourth voice, the alto, alternates between the octave and the fifth with the bass.

Example:

! 59!
At the Renaissance, many popular songs are built on this model. The struc-
The basic structure is provided by a soprano-tenor duo moving in parallel sixths. The bass is
then added, followed by the alto last. The writing is generally homophonic (1eraspecies), to
the exception of the soprano's tempo almost always presented with a delay.

(Sermisy)

Model in 10themesparallels

In this model, external voices evolve in 10èmes parallels. Like most of these mo-
Here, it is not used consistently. In the following example, we can observe it.
to the first four chords. The rest follows the model in parallel sixths.

(Sermisy)

! 60!
Cadences

We can also start from the structures presented in 3 voices, adding another one to them.
4th.

Conclusive cadences

II-I to the tenor:

II-I to the soprano:

II-I on bass:

! 61!
Examples:

The delay accompanied by IV-V in the lower voice:

With 'false delay' (or 'fourth consonant'):

! 62!
Phrygian cadences

Simple cadences, without delay

! 63!
Chained cadences

One often notices the sequence of rhythms presented in layering or in echo, without interruption.
true of the speech:

(Agostini)

! 64!
 VIII. Prosody
At 16thcentury music often reflects the syllabic energy of the text. This is especially noticeable in
Beginning of sentences where we seek to provide a clear definition of thematic ideas.

Voici quelques règles de prosodie liées au répertoire liturgique, donc au latin.

•The tonic accent of 2-syllable words falls on the first syllable:

−who comes! who-knows

•A syllable is placed:
−After a long value: square, round or white:

−At the beginning of a movement of blacks, if it starts with over-position elevation:

−On black notes if the rhythm consists of 2 black notes followed by a long value (white or
round). It is an exception to 1erarule :

−!On a black following a dotted white.

It is very common if the note is repeated.
It is much rarer if it is not:

Rare :

•A syllable is never placed on a rest following a group of black notes or eighth notes:
Bad:

Good:

! 65!
•The last accented syllable of a sentence is often the subject of a melisma:

•Here is the text of the Benedictus, a section of the Sanctus, which is itself part of the ordinary of the Mass:

Blessed is he who comes in the name of the Lord.

−!With the tonic accents indicated in bold:

Blessed is he who comes in the name of the Lord

This text is often performed with a fewer number of voices than the rest of the mass. For example in
a mass for 4 voices will often be found composed for 3 voices.
Most of the time it is broken down into two sentences:
Blessed is he who comes / in the name of the Lord

Examples:

! 66!