IIj I

SCHOLASTIC RECORDS Album No. ST 3606

Produced by Folkways Records , New York, © 1962

MODAL COUNTERPOINT
IN THE STYLE OF THE 16TH CENTURY
1st Soprano: Charlotte Lyons
prepared by Vaclav Nelhybel 2nd Soprano: Barbara Miller
Alto: Gladys Helland
Musical Examples Sung By Vocal Group 1st Tenor: Othello Pumphrey
2nd Tenor: Alexandre Barta
Piano: ALEXANDRE BARTA Baritone: George Brooker
Narrator: WILLIAM G EIB Bass: Willie Thomas Jones

SIDE I Band 3: Counterpoint In Three )t)dal counterpoint reached its perfection in the
Parts sixteenth century. The JD:)st important composer
Band 1: Introduction Band 4: Counterpoint In Four associated with this style is Giovanni Pierluigi
Band 2: M:>des Parts Pal.estrina. It vas Johann Sebastian Bach who,
Band 3: Musica Ficta, Tri tone Band 5: Double Counterpoint In in the eighteenth century, developed instrumental
Band 4: Cadences The Octave (Two-part) counterpoint to perfection.
Band 5: Rhythm Band 6: Double Counterpoint In
Band 6: Melody The Tenth (Two-part) In counterpoint the chords obtained from tbe silllul.-
Band 1: Counterpoint In Two Partl Band 1: Double Counterpoint In taneity of two or more melodic lines are the result
- General. Rules The Twelfth (Two-part) of the correct treatment of the consonances and
Double Counterpoint In dissonances between the individual voices. The
SIDE II Three Parts strictest application of contrapuntal. technique
Band 8: Homophony In Contra- is found in compositions by Pal.estrina. We shall
Band 1: Species (Counterpoint in puntal Composition use some excerpts from his compositions as demon-
two parts) Free Application Of stration examples on this recording. In addition,
Band 2: Other Features (counter- Contrapuntal Technique we will hear excerpts from compositions by Tomas
point in two parts) Luis de Victoria, Marc Antonio Ingegneri and
Michael Praetorius.
SIDE I The contrapuntal. music of the sixteenth century is
mostly vocal. music of religious character. For
Band 1: this reason JD:)st of our musical. examples are vocal.
Counterpoint, as a technique of composition, repre- Throughout this discussion, the basic technical
sents a set of rules which co-ordinate the simul- demonstrations use one theme, called Caatus :r1rmus
taneous progression of two or more melodic lines. (firm chant), of five notes. Music l.
In our discussion, we are going to outline the
JD:)st important rules of so-called modal counter-
point, or counterpoint in the style of the six-
teenth century. Modal counterpoint is al.so called
vocal counterpoint, in contrast to instrumental.
- o • C> I
counterpoint which is the second category, called We sball demonstrate counterpoint in tllO, three and
counterpoint in the style of the eighteenth four parts, and each of these exampJ.es Yill be shown
century. in five different versions called species. This
could be delOOnstrated, of course, with excerpts
from existing compositions, but we have decided to lOth JOOde: HYPO-AEOLIAN
use only one theme in order to show how the various 11th mde: IONIAN
contrapuntal devices produce very different contra- 12th mde: HYPO- IONIAN
puntal. lines and very different relationships be-
tween them when centered around the same cantus The final D, the dominant A. HYli!ic 2
The final D, the dominant F.
~
firmus. Music
The final E, the dominant C. Music
The final E, the domi18nt G.
~
Our musical examples are not intemed as delOOnstrations Music
of how to sing contrapuntal. music. A purely "delOOn- The final F, the dominant C. Music
strative" interpretation is used which exaggerates the The final F, the dominant A. Music 7
phrasing by very strong accents in order to underline The final G, the dominant D. Music 8
the rhythmical interplay of the various lines. The final G, the dominant C. Music 9
The final A, the dominant E. Music 10
The final A, the dominant C. Music 11
Band 2: The [i181 C, the dominant G. Music 12
The final C, the dominant E. Music 13
Modes

•,
Counterpoint uses twelve scales" called IOOdeS, which
are divided in to two groups: six authentic and six :/fa 41>8 ,•
plagal modes.
4~···- o·· - H • iJ=--=~ j,
In every IOOde consisting of eight notes special em-
phasis is placed on two different notes: The
strong emphasis, called final, corresponds to the
tonic in the JOOdern III!l.jor-minor scales. The
secondary emphasis corresponds to the dominant 1n
the IOOdern major-minor scales.
• • •• • 1:::1 II!
I
One plagal JOOde corresponds to every authentic mode,
and this plagal IOOde starts one fourth below the
final of the authentic mode. The names of the
~ • • I
:/flO
• .I
P • 0 jf
~
• • • •
0 I
plagal modes are formed by adding the prefix "hypo"
to the name of the authentic IOOde.

, ,•
The final is identical for both the authentic and
its corresponding plagal mode. The authentic and
the pl.aga1 JOOde do not have in cOllllOOn the note of
-::IF.!
, 'f"JI

$. • II
the secondAry, dominant emphasis. The following
examples indicate the full details.
47+ • tel • • • I • • Ii 1: • I

1st IOOde: DORIAN

.Iff, o ...
2nd IOOde: HYPO-DORIAN
I= • JL

~ ..
- ' 0 .
.... . . --#:- •
3rd
4th
IOOde:
IOOde:
PHRYGIAN ' . ...... I
HYPO- PHRYGIAN
5th mde: LYDIAN
6th mde: HYPO-LYDIAN
7th
8th
9th
mde:
mde:
mde:
MIXOLYDIAN
HYPO-MIXOLYDIAN
AEOLIAN
,+ ..
4t7

• 101 • C) •
• ., I/~. • • Inl • '1 • • II
2
Band 3:

Musics. Ficta.

The basic modes are diatonic. In certain melodic

situations, however, some notes are altered. The 1(15
altered })8.rts are ca.lled musics. ficta, or musica
false., or musica colorata, which means "fictitious"
or "false II music or music that is "colored."

B flat is used in the Dorian, Lydian am Ionian

modes in descending melodic })8.tterns in order to
avoid the tri tone between B and F. (The tri tone
will be explained later)

C sb.a.rp is always used when approaching the fim.l , A-

I I l I

-... ,

..
in Dorian. In Aeolian I the C in the fina.l chord
is raised to C sbarp which is the JlB,Jor third of
the chord. -, A-
I
-
F sharp is used in Mixolydian when approachiDg the
final and as the rasied third in the final chord
in the Dorian mode. lA- -rllCa.
b"
G sharp is used in the Aeolian mode when approach-
ing the final and as the raised third in the A- - ...
Phrygian mode (in the last chord).

The Dext five examples demonstrate the chromati-

cism or musica ficta. used in the modes. Music 14-18
fl7
-y

.., . A-

It-
1II(n

l-

"",.
_l I 1 A- .... I..
."

•. A- 1rIe7J.

..
&- - ""..
•
J
A-
_ _ 10..
. __..-
- ...... .- _n T~_
.-
- ,

A-
,4-
.....
.-. -
lt~ .-I
mea
--
"-"1-

j A-
- -
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~
#

3
A-
Tritone
The tri tone or tri tonus was called diabolus in musica
(the devil in music), an expression which hints at
hov much this melodic :pattern was abhorred. The
tritone is the interval of an augmented fourth or
diminished fifth between the first and last note of
a short melodic phrase. Music 19
&~ lJ 5, Billl 0 3
cy~ 4#4. 'cU'77II'",m.J SIlL
A diatonic note followed by its alteration, as for
example C followed by C sharp, is unthinkable in a
contrapuntal melody.
Band 4:
Cadences
Music examples 14 through 18 showed chromticism as
a standard :part of the diatonic modes. These
examples demonstrate also the cadence formulas in
various modes. Example 14 is the cadence in the
Dorian mode, example 15 is the cadence in the
Phrygian mode, example 16 in the Mixolydian mode,
example 17 in the Aeolian mode and example 18 in
the Ionian mode.
As you my observe, there is no example for the
cadence in the Lydian mode. The Lydian mode is
identical with the Ionian mode except for the
fourth step. In the Lydian mode the fourth is
an augmented fourth, in.the Ionian mode, however,
a perfect fourth. To avoid the tritone, the
augmented fourth is frequently altered to a per-
fect fourth, and the Lydian mode thus becomes
identical with the Ionian mode. Since the
finals of the authentic and ·plagal modes are
identical, there is only one cadence :pattern for
the authentic and its correspoming plagal mode.
Band 5:
Rhythm
In counterpoint, the follOwing rhythmical note val.ues
are used: the double whole note, the vhole note,
the half note, the quarter note and eighth notes which
are used only in pairs of two.
The actual time unit is the bal.f note. Every other
half' note is potentially accented.
There are strict rules for the division of accented
half note beats into two quarter notes:
It is not permitted to divide an accented beat into
two quarter notes if the following unaccented beat
is an undivided bal.f note. In other words, two
quarter notes my be used on an accented beat i f
they are followed by another pair of tllO quarter
notes on the succeeding unaccented beat. Jilusic 20
" " r IJ J 1£2tI
f¥--r=r
Two quarter notes on an accented beat are also
permitted if they are preceded by one or two
quarter notes on an unaccented beat. Music 21
r J JJ ,
, ,
,.
" I f' r r J" J" J. I D I
ft' E1
And fiDAlly, two quarter notes are permitted on
an accented beat if the following unaccented
beat is a bali' note tied over to the succeeding
accented beat. Music 22
" f" <tJ) J d \ e
¥tn ]
Band 6:
Melody
To create the free nov of the contrapuntal melodic
line, numerous rules have to be observed.
A vell-balanced melody should consist of more steps
than skips. The skips are permitted only in cer-
tain intervals: in the minor am major third,
in the perfect fourth, fifth and octave, and in the
minor sixth, but · in the latter upward only.
In melodies using of half notes not more than two
skips in one direction are permitted. The larger
skips have to be below the srraller ones. Music 23
 ~Z3
6r cI -0I I J I only once (Observe the tone D in the sixth
In qw.rter notes only one skip is permitted. A I f two notes of a segment of a melody are an aug-
dovnvard skip in quarter notes is permitted on
any beat. Music 24
An upward skip in quarter notes is permitted on
accented beats only. Music 25
I Band 1:
Skips larger than a third ba"fe to be followed by
the movement of the mel~ in the opposite direc-
tion. Music 26
j J JI J U' o . I
Periodical. symetry and repetition of a series of
melodic intenals or r~cal. patterns like
this: Muaic 27 811st be avoided.
About one third of the accented beats should be tied
over from their preceding unaccented beats. The
re-.ining tvo thirds of the accented beats are
articulated. In the following example there are
..ven articulated accented beats and the re_in1ng
three accented beats are tied to their preceding
\lD&Ccented beats. Music 28
'Cli J IJ J j IJ rnr., J1 it J Fr lat Et P \
4~~ J I J J U I 0 I
A -.l~ starts on ita f'1nal or on the fif'th and.
ends, in most cases on the final vith a half or
Yhole note on an accented beat. The final must
be approached by a step from either direction.
The range of a melody is created by the ambitus
of its JIOde extellded by one or two notes on either
elld.
5
In a phrase, the highest note should be reached
measure of example 28).
mented fourth or diminished fifth apart (that is a
tri tone), the melody must never stop on the
second tone of the tritone interval, but has to
continue stepwise. Music 29
, 1 ~ J §J
J: I r r t r Ir-"'"E1 r 1
Counterpoint In Two Parts - General Rules
Noy we shall proceed to the general rules of counter-
point in two parts.
The intervals between the cantus firmus and its
counterpoint line have to be bandied according
to certain rules.
The intervals are divided into three groups:
Perfect consonances: the unison, the fifth aId the
octave •
Imperfect consonances: the third and the sixth.
Dissonances: all other intervals including the
perfect fourth •
The beginning and the end of two :part counterpoint
JIlUst always be in a perfect consonance.
Consonances _y be used on any beat; dissonances,
bowever, are permitted on unaccented beats only,
as paSSing half or quarter notes, Music 30
IFf r I~
or they _1 be permitted as alternating one quarter
note or two eighth notes downward only. Music 31
 tarded parallel xootion which can be used in xoore
than three consecutive notes. In the following
~
...,.0 •
r .~ example there are seven notes led in retarded
parallel motion of sixths. Music 34
''''
A di8.onance i. permitted on an accented beat
only it it i8 prepared tor by tying the
di880nant DOte to its preceding consonant note.
Such a die sonant note has to be resolved to its
lover second on an imperfect consonance. Music 32

Parallel motion in fifths or octaves between two

In relation to quarter notes every balf note is
accented. In relation to a whole mte every
other half note is accented. Every other quarter
note is accented (in any relation).
melodic lines 1s never permitted. The next
example is a fragment of three notes in three
parts. First we shall pJ.a.y the soprano and alto:
Music 35
,

Caabiata I

There is a 8pecial teature called cambiata. I t
consists ot tour notes. The in! tial note starts
on an accented beat vi th a consonance; the
"COM note, one step down, may be a consonance
or dissonance; the third note, which DlUst be a
con.oD8Zlce, is a skip down ot a third; and tinally
the tourth note, one step up, may be consonant or
di880nant. The cambiata is a melodic pattern
always employed in quarter notes. The cambiata
1& trequently used and is the only case in which
a melodic skip My start tralll a dissonance (the
aecoDd and third quarter notes). Here is a
aeries of five cambiatas. Music 33
I I
"7 A-
and now the alto and tenor: Music 36
::• : 1= I
There are no parallel fifths or octaves between
the individual lines. When all three lines are
played together we shall hear a succession of
three triads which creates three parallel fifths.
Since there is no parallel xootion (in fitths)
between the individual lines, this example does
DOt transgress the rules about the parallel
f1llCll
motion. It is a tragment of the Credo from
Palestrina's Mass In Te Domine Speravi. Music 31

-
Parallel IIOtion
'" - .".~~
- ..
I~-
I

Parallel motion bas to be used very caretully be-

cause it limits the freedolll at the parts in- .
volTed. The melodic lines may not be led in
parallel thirds or sixths tor xoore than three
notes. The next .musical example demonstrates re-
6
,
,
This example also demnstrates the crossing of
voices, which is a frequent procedUre in contrapuntal
technique.
T_&
'I
Co- It;:
The similar mtion in fifths aDd octaves, forbidden
between the top and bottom lille, actually occurs
fairly otten. Observe the soprano aDd bass in
go

I
-'1J..., K'1- -~ ., - It.:_
the first two notes ot our musical exampJ.e No. 18. K'J- n-
i

.
!-WOo
I I

The interval. between two parts sbould not exceed

the tenth.

Cross relation

A diatonic tone in one part and its altered torm in

., - .- -
,.- --
lcl-

.. --
t.) Ky-
-, -- -
-
-1"1 Co, a-
- ..,.
r.--
-
--
~-
-l

another part (cross relation) should be separated

by at least two beats. (See example No. 33: B
D!l.tural and B flat in the soprano)
J
- 1.,.- Sca-· . .
.) I _
.".
....
~
/(1- rl-C> f-
-
After this enumeration of the strict rules we shall
t- ,."-
play a section of the Kyrie from the MiS8& de Feria ; -, '1
- -
- .-
by Palestrina in order to show that even toough all •
the rules are observed, the composer achieves
great expressivellesS of the freely mving melodic I< - n - c) r.,-
lines. Music 38
~~g\1l: (,.,,~ • fier.a.) t1j 'P.at~r;~
"7
-- "'-."
Ky- -ri- &0, e.-
, V
~--::- -:- I -~~::.r=r~: ~.":- ~ - -It,". 'S.."
1- 1'1- &0, Co- Lt- -L- ~,f~:r~ .. ~

1-- - :-" - ~-_ ~ .. _:~-=::::::::: 1- ~,, -

-
f1
-a. to"'.>
- -
."--.-.
-- - -----

- ~ -_=t-.:.
--w:-:=::
K.,-
-n-

~-
SIDE II

Band 1:
1,1. +~ -1,"- -~ ~
1<1- . :-
-~,
n-e i;i- Species (counterpoint in two parts)

Bow we sbal.l turn to counterpoint in two parts. One

3 K~- - ri- e, c- lb- of the two parts is the given mel~ I the cantua

E.
-e, .- ltl .
I-

-~l(;-
- -to'--

h -- Co, e
7
firmus; the second part I wbich is added to the
cantua firmus, is called counterpoint. In all our
demnstrations we sbal.l use a cantua tirmwl conai8-
 1
ting of five notes: Music 39

There are five different rhythmical patterns in

which the counterpoint can join tbe cantus firaus;
they are called species.

First species: Fourth species:

The cantus firmus and the counterpoint use the same Again there are two half notes in the counterpoint
rhythmical values. Because every note of the for every whole note in the cantua f1rmua. The
cantus firmus starts on an accented beat, only second balf IIOte of the counterpoint, which i8 on
consonanc~s are permitted. In the next exampJ.e an UD&ccented beat, is tied to the balf IIOte on
the cantus firmus is placed once in the lover voice the following accented beat. The half note on the
and once in the upper 'VOice. Music 40 unaccented beat JIlU8t be a cOn&On&DCe, and the l:alt
note on the accented beat mwrt be a dissonance.
l
Music 43

Al- Ie - 1(.(- ia. .

~

c.F.
"'t'" U

Al- 1~ - ,,,- ....

:.;:' 0
AI- le- It( - It~.1

Second species:

For every whole note of the cantua firmus there Firth species:
are two balt notes in the counterpoint. The
first half note must be a consonance, the second The counterpoint employs freely any rhythJdcal
half note can be either a consonance or a di s- note values. It is called tlorid counterpoint.
sonance. Music 41 Lic "'
-
.., Al- k- 1&..:'" • ,. &4

c.F.
"7 Al- k- t.- - : 111: !}; i~ ''i:
-

Third species:
Band 2:
For every whole note in the cantus firmus there are
four quarter notes in the counterpoint. The first other Features (counterpoint in two parts)
and the third quarter notes must be consonant; the
second and fourth IIOtes can be consonant or dis- In the next example both pLrts are tree contra-
sonant. Music 42 puntal linea ot equal. importance. Music 45
8
 this kind of two-part counterpoint is called
imitation.

The Alleluia by Michael Praetorius is such an

imitation in two parts. Music 47
• ALL,[uja: hj Tt4etoriU5
;;;J:l~:JlCo J~ D

~:no ~Ul¥\:J ,"7 -/M.- i4., Al-!t-

,
-lu.- iQ..) At-le-
g
T..-
.R ,D
The two-part counterpoint in which the second
IU- 1t- (U- Ul.) At;.1t-
voice repeats exactly the melody of the first Al· it- _-ia,
voice is c&l.led canon. The repetition may be
identical or it can be transposed. In the next
example we demonstrate a canon in which the
basses begin vi th the melody on the tone D, and
the tenors sing the exact melody, starting a
whole note later, transposed one fifth higher.
This ' is called canon in the fifth. Music 46
" .....
\..,.. .- --.~
"!

.Jl. ~.-
, - ,fM.-, ."£.a..
-1i -14 - ,.a,

Band 3:
Counterpoint In Three Parts

In three-part counterpoint the following conso-

nant chords resulting from the three simultaneous
voices involved are allowed: M:Ljor and minor
triads in root position and their first inversions
the diminished triad in its first inversion only.

The second inversion of a triad, the six-four chord,

If the second voice does not exactly repeat the
melody of the first voice but uses rhythmical
changes, such as augmentation or diminution, .
9
is a dissonant chord and therefore may be used only
on an unaccented beat. Dissonant chords on an
accented beat are permitted only in the fourth and
fifth species where syncopation is involved.
Music 48
 strates the third species, has the cantus firmus in
the top Jart. Music 52

al-
0
-
I-L.a. .
1 It-
I ,

Similar ootion in fifths and octaves may be used

except in the outer Jarts. The third voice
must be led in the opposite direction of the two
., al-
Jl i ~
,
..- .¥-~H- IL:J 1
J8rts which are led in similar ootion. Music 49 J
n
In the next example the cantua firmus is in the bass;
the soprano and alto are written in the third species.
Music 53
, , I I \ , , j I 0, I ,

-,
al- 11- k- I'.
I ,
Ie.
The concluding chord must be always in root posi- I I
tion. In the "minor" oodes (Dorian, Phrygian,
Aeolian) the third in the last chord is raised
to a major third.
41- Ie. t.&.-
.- f~
,.
IQI

c.f.
First species:

Here is an example of the first species in three- In the next example the syncoJation, typical for
Jart counterpoint: Music 50 the fourth species is in the soprano I the cantus
firmus in the alto. Music 54
.1.
~ 41- k ~- iG..

C.f.
7
41- Lt- -"'- 0

.....
I~ I.e - ~
41- "'- lei.. G·f. "J ~_
1, - l&- - II?!
..R.. _-9-
- -CA .

Now, the second species: Music 51 aL- Lt - -14,

The following two examples are al80 deDr:>nstrations

., al- 1&- lq..'

, ....
".
of the fourth species. Music 55A & B
~

C·F .,,-- ..,.

1&-
- .,:, 41.- k,- ~ lIL- -. ~.
Cll.- k .-. 1
...,. al- leo. t.. .... -u... 1
In the preceding two examples the cantus firmus was
in the middle Jart. The next example, which deDr:>n- at- Lt.-
10
 7" 41.- -.
,
I-

• I
I

-1.-
, I
1

1&. "
,
~- .- die- -fus I '"
'it-

41- te- L..-

,...~

II·
'&- '!Ie - cit- I ts J" \12-

The fifth species is demonstrated in the next two

i

I I.it.fl~
rA

IA
-- ,
I I
!
r , --.:..I
-
examples, the first of which bas the cantus firmus •
in the bass, the second in the soprano.
Music 56 A & B
4i'56A I I

I
.t, l,u «-
I
• •
'IIt- - #- ... ...,

ee- -c:II-,-
• 1M!- M) ,. ~(-

MQSIC. 5 6 E5
I ,
... " - ._&.-
I~
" •
IJr

.-==:;..

J••t l ".. " ' - .t. 1i~ ~1Ie de- +16

"' ~:t') • ft- ~

.
1IIt
Now we shall demonstrate the free imitation tech-
nique in the three-part counterpoint on the
Benedictus from the Missa Brevis by Palestrina. 1-
'-
-.t,
--1.",'
~ .-

c- ,.1 ,. ...
Following is the score and a brief analysis of
the imitation technique here employed. Music 57
-, . -I~
I
'1 ~ ... .&.:t#

II

II
) • 0
1 ,.

12
 Tllllle!
., o.t- Ie /M.- i..
.. ~ +.,. ....&~.~~-"""'} ~-
. .. ....
.-
'

I 1-_ ~.
C.f
0
-
t,
-,

I
I I tt.J.l
--
l.l.J.-,L J,;J
~ .t"_ -
:"'I
I ell- It lA-
-,
ica.

,
r r t:~ Tr I
, f I 1 ...
The next example, written in the fifth species, bas
, .. 1" T r the cantus firmus in the bass. The soprano part
t employs the syncopation typical for the fourth
species. Music 60
'""',
a ! I: ,, I I l j 'I I

., (1\- It- t.&.- ...

Band q.: ...,.., - 'f'

Counterpoint In Four Parts

In four-part counterpoint all. rules mentioned in .. 4t- k-

.. Lt- k:t
the preceding discussion are valid. ,.f.
Here is an example of the first species: Music 58

--
The Amen in the next example abandons the cantus
.." 41- it. t..- ,&. firmus in whole notes and uses four free contra-
puntal lines. Music 61
c..f. ....... .
.....

,
1 at- ,~ ~ I.l- iG. "'t_;
- A- I I

. A-
\
-_ft.)
A-
In the demonstration of the second species the cantus ,A- -.,.,/t-
--
~

-
firmus is in the tenor. Music 59 .-

A-
13
 -
"7
A..
..,. :-
-CII· 9'1- \4- ~ • .
A- lii!,
1Ie- VI
~-

-,
- 7~ ~ go ,... ,e-me- ~ .... . lea. ..
.-
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•
We conclude the demonstration of four-part counter-
point with a short response, Una Rora by Ingegneri.
In the opening of the composition the imitation -.. --
7---:' --.:;;;T -l:;;;J
-'t 110- ri ''In 1I'It

technique in four parts is used. Music 62

~-

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~
-n
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-
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----- --

1-_
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me

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'u,. .. ho- ro.

.- .... - .
~ ...-tv .'tt- t 'Ii ,.- 14.-
c~

re- -"
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U-M- 1;1
1":'- IrQ. !.~-t. ~,J-
-
-ti~ \'t-
- Band 5:
-. tJ- &4- ho- -na. Double Counterpoint in The octave (two-part)

- CT- -114 ~ .,. ."

14
Nov, we sheJ.l briefly explain the pt'inciple of
double counterpoint. Let us take a two-part
counterpoint with the cantus firmus in the
lower part: Music 63
 nance of the sixth which becomes a perfect con-
sonance of the fifth (and vice versa).

When transposed (one tenth) parallel motion in

thirds or sixths: Music 65 become s parallel
IOOtion in octaves and fifths: Music 66.

We transpose the counterpoint one octave lower,

thus reversing the voices: the cantus firmus
is now in the upper, and the counterpoint in
the lower, voice. Music 64.

4=-! ~ -- ~- --
7

Both versions are correct. A counterpoint Band 7:

written as just demnstrated is called DOUBLE
COUNTERPOINT IN THE OCTAVE. In the text you Double Counterpoint in the Twelfth (Two-p:Iort)
will find a chart Which shows how the intervals
change when the counterpoint is transposed (one The third type of double counterpoint is in the
octave) • interval of the twelfth. As can be seen from
the interval chart in the text, the only critical
The dissonant interval of a perfect fourth be- interval is the consonant sixth which becomes the
comes a perfect fifth when transposed, and dissonant seventh and vice versa. Here is a
vice versa, the perfect consonance of the short demnstration. Music 67
perfect fifth becomes a dissonant perfect
fourth. , -- - -
., --.--\- -+- I ,-- .- -----,--
- -- I-::-:-:- --~
Therefore, in order to create a counterpoint
that nay be transposed one octave we must At k· -1M, ....
avoid the interval of the perfect fifth on - -- .- -- -- I===;: -~=
an accented beat, because it becomes a dis-
sonant fourth when transposed. The fifth
''Al- -
iP""I
~ l'Al_
and fourth are the only critical intervals
in double counterpoint in the octave.
le.-
--
.-
~-

-
14 -
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II£.-
-~-
Band 6:
--
Double Counterpoint In The Tenth (Two-p:Iort)
" --
A counterpoint which may be transposed one tenth
higher or lower is called DOUBLE COUNTERPOINT IN THE
TENTH. As you may see from the interval chart in
..,-1u.- ~'r
~ I''"''
the text, the critical intervals are the imperfect ~ I I I I 1 .1
--
- 11· ._-
consonance of the third, which becomes a perfect ,,::-,,--:..=~::.-'-'-

-,&
~

consonance of the octave, and the imperfect conso- -la.-

15
 .
Double Counterpoint In Three Parts

In double counterpoint in three ];l9.rts all three

.. 'A- - 1- -
I

I- .ea..
lines must be reversible.
....
~ .."

First, let us take two parts written in double A- -,

-1IIe" .
counterpoint in the octave. The cantus firmus
remains in the alto; the counterpoint in the
bass, when transposed, moves into the soprano A- - "',,,, .
line. Music 68
Band 8:

Homophony in Contrapuntal Composition

The basic principles of IOOdal counterpoint as dem:>n-

To these two parts we add a third part, also
wri tten in double counterpoint in the octave.
Music 69
strated in this discussion find many applications
in the musical literature of the sixteenth century.
We cannot discuss here the forms of contrapuntal
compositions, but we wish to point out one very
cODDllOn pattern. A composition, such as a IOOtet or
a part of a mass, for example, is divided into
several sections. Very often, each section bas
its own theme which is presented voice by voice in
the imitation technique. Occasionally, the con-
trapuntal flOW' is interrupted by a few beats or
even by a whole short section in purely holOOphonic
style: Then all voices sing the same words in
equal rhythm. We find the alternation of the
contrapuntal and the homophonic treatment within
one section in Ingegneri' s Una Hora, our example 62.

-- -- The short Kyrie in the next example bas three sec-

.- - I
tions: the first and third sections use the con-
,4. trapuntal imitation technique; the middle section
. --- --
- 11M1# _
is homophonic.
01'":'"
A-
-"'" l-
-{So. . HOlOOphony is a strong contrasting element in the
:-.. .t"'>:1~ contrapuntal composition technique. Music 71
IY.---..- -' .-
I I \I I I
-1Re. ,
A - ~ .-- ~-

K,- -rL - eo, (,- le, ... SO'" e-

The cantua firmus which, in the preceding example,
was in .the alto is in the next example transposed
one octave lower, thus becoD1ing the bottom
E:-
"7Q

":t-
-- -:-F
" !? ~
-rL-e) e· 1ei- -SDIJo, e-
..z.-.
~

(bass) line. The bass counterpoint from the pre-

- f - -. • ._-
ceding example becomes, when transposed one oc-
tave higher, the top (soprano) line. The former
soprano counterpoint, which is not transposed,
becomes the middle (alto) ];l9.rt in the next ex-
ample. Music 70
• -
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......
-ri·,) ( ...
16
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J'ree ApplIcation or Contrapuntal. Technique
~ Ai-l.(- lM.-
Lt· i4. , I
-
The very last example is witten in seven :parts
and is based on our familiar cantus firmus
D-G-F-E-D_ It deJlX>nstrates a mre relaxed
application of tbe technique of mdal counter-
,- C:a. r- At-le-,", Ul.-
l.-.l.
~1t-

point in the style of the sixteenth century.

Music 72
17
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-le- -1u.- - 'a.-

VACu..V NELHYBEL, Biography

Vaclav Nelhybel, composer-conductor-organist, was

born in Polanka, Czechoslovakia . Besides obtaining
a thoroUSh music~ education under the guidance of
outstanding European musicians he also studied
musicology, acoustics aDd philosophy at different
Uni versi ties in Europe . He has conducted such well
known orchestras as the Czech Philharmonic Orchestra
of Prague, the Vienna Symphony Orchestra aDd the
Munich Philharmonic. As lecturer, he has given
extensive courses in musical forms, composition aDd
orchestration. Prior to coming to the U.S . for
permanent residence in 1951, he was Music Director
of RADIO FREE EUROPE in Munich for seven years.
His many compositions include operas, ballets,
symphonic works, chamber music and countless scores
for radio aDd fUms .

19
 _ F 71 _

Additional Releases of Interest:

3612 TWELVE·TONE COMPOSITION.

Prep. by V. Nelhybel; mus. ex. by wood- MUSIC OF
MUSIC THEORY wind quartet; narr. by W. Geib. Side 1
OTHER PEOPLES
demo. 12-tone technique; Side 2 explains
the mus. technical terms used in text (inc.).
3602 THE ORCHESTRA. 1-12" LP-
ITS INSTRUMENTS. MUSIC OF THE WORLD'S PEOPlES.
Demo. rec. by Alexander Semler; narr. & + 6007 THE SCIENCE OF SOUND.
The best examples, chosen for listenability
contemp. mus., ex. inc. symphony orch. & Prod. by Bell Telephone Labs. Demos. of
acoustic phenomena inc. how we hear, fre- & appreciation. Produced by Moses Asch,
its component parts; individ. instru. in var. recorded on location, & edited by Henn;
combinations leading to development of full quency, pitch, vibration, resonance, Dop-
pler effect, & masking distortion; others. Cowell. Fine source material.
symphonic sound. Text inc. transcrip.
1-12" LP- Acquaints h.s.-col. students with sound. 4504 Vol. 1. 2-12" LPs-
2-12" LPs- 4505 Vol. 2. 2-12" LPs-
+ 3603 INVITATION TO MUSIC. + 4506 Vol. 3. 2-12" LPs-
Prep. & narr. by composer Elie Siegmeister. 4507 Vol. 4. 2-12" LPs-
Intro. to mus. appreciation & understanding; 4508 Vol. 5. 2-12" LPs-
inc. mus. ex. of melody, notes, classical, folk,
& jazz. 1-12" LP-
+ 3604 TRADITIONAL HARMONY.
+ 3700 2,000 YEARS OF MUSIC.
Demo. ree. narr. by William Geib; mus. ex. Compiled by Dr. Curt Sachs; concise history
by chamber orch.; basic principles of func- of mus. development from earliest times
tional harmony; 100 ex. inc. cadence, chro- through 18th cent.; Greek, Jewish mus.;
chants; more. 2-12" LPs-
matics, chords, organ point, & modulation.
1-12" LP-
+ 3605 FORMS ·IN INSTRUMENTAl MUSIC. + 4444 THE ESKIMOS OF
Narr. by W. Geib; chamber orch. demo. & HUDSON BAY AND ALASKA.
explanation of instru. mus. forms. Theme & Rec. & docu. notes by Laura Boulton; inc.
variations, rondo, sonata; more. rhythmic chanting, primitive melodies,
1-1~" LP- game songs, lullabies, animal imitations;
more. 1-12" LP-
3606 MODAL COUNTERPOINT.
Piano acc. by Alexandre Barta. Mus. ex.
sung by vocal group in style of the 16th
cent. 1-12" LP- + 4525 MAN'S EARLY MUSiCAl
INSTRUMENTS.
+ 3607/8 MUSIC ARRANGEMENT. Ed. & with notes (inc. geog. index & discog-
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3609 THE FUGUE.
156 mus. ex. played by woodwind quartet
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J. S. Bach's Well-Tempered Clavier. Struc- + 4530 FOLK MUSIC U.S.A.
ture analysis. 2-12" LPs- Compiled by Harold Courlander & Moses
Asch; docu. notes by Charles Edward
3610 TONAL COUNTERPOINT. Smit~; inc. 25 mus. ex. of blues, work, chil-
In the style of 18th cent., with narr. 158 dren s, shanty, ballads, & other songs &
mus. ex. played by woodwind quartet & singing styles; var. artists from Alaska to the
harpsichord. Demo. based mostly on Bach's Virgin Islands. 2-12" LPs-
works. 2-12" LPs-
STAR (+) indicates record appearing on one or more professionally recommended lists. LITHO IN U.S.A. ~lS'