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17 Cards in this Set
- Front
- Back
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consonances
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UNISON
THIRD FIFTH SIXTH OCTAVE |
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perfect consonances
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UNISON
FIFTH OCTAVE |
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imperfect consonances
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SIXTH
THIRD |
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dissonances
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SECOND
FOURTH DIMINISHED 5th TRITONE SEVENTH |
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motion
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the distance covered in passing from one interval to another in either direction
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direct motion
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same interval in the same direction
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contrary motion
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moving in opposite direction resulting in different intervals
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oblique motion
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one voice stationery and the other moves, creating different intervals as one voice moves against the stationery voice
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rule 1
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from one PERFECT consonance to another PERFECT consonance, you must proceed in CONTRARY OR OBLIQUE motion
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rule 2
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from PERFECT consonance to an IMPERFECT consonance all three motions are acceptable
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rule 3
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from IMPERFECT to PERFECT consonances you must proceed in CONTRARY or OBLIQUE motion
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rule 4
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from IMPERFECT consonance to IMPERFECT consonance any of the three motions is fine
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rules of motion
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perfect - perfect = contrary or oblique
imperfect - perfect = contrary or oblique perfect - imperfect = any of the three imperfect - imperfect = any of the three *oblique motion is acceptable in any case |
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notes
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great care is needed in moving from note to note in direct motion
more imperfect than perfect consonances should be employed beginning and end must BOTH be PERFECT consonances |
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more notes
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treat as vocal performance
no augmented, diminished or chromatic intervals No intervals larger than a fifth, except for octaves and minor 6ths, which are only allowed in upward direction no really high or low registers no skips following each other in the same direction avoid skips not compensated for |
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note 3
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next to last bar MUST be a major 6th interval if the cantus firmus is in the lower part, and MUST be a minor 3rd if it's in the upper
the second degree of the mode always occurs as the next to last tone in the cantus firmus, and the seventh of the mode always as the next to last in the counterpoint counterpoint MUST be in the same mode as the cantus firmus |
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note 4
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no movement by augmented 4ths, also avoided when reached stepwise if line is not continued in the same direction (F-G-A-B) etc
ok to have counterpoint (as the lower voice) move above the cantus firmus to avoid incorrect motion avoid movement by major 6ths as it is not easily singable 10th to octave movement at the beginning of the measure is not permitted 3rd to unison movement should be avoided except at the beginning and end of the piece movement from a more remote consonance (ie Octave + 5th) should not be tolerated 'fa' leads up/ 'mi' leads down, adjust 'fa' by # if movement ascends |
