Suggested Learning Resources
Note: When watching the video, look at the Soprano and Bass lines, ignore everything
else (ignore roman numerals and alto and tenor)
- While diatonic half steps are allowed in counterpoint exercises, chromatic
half steps are not.
- The most common place where this error is made is in minor modes when
approaching the final tonic note.
- If last three notes of the counterpoint are scale degrees 6, 7, 1, then
7 should be raised to the leading tone, and 6 should be raised to the raised submediant. What
should NOT happen is for note preceding raised 6 to be the lowered 6th (example le,
la, ti, do). Le to La is considered the chromatic half step error.
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- A cross relation is the same concept as the chromatic half step error,
except where Le is followed by La, but in separate voices.
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- Voice exchange occurs between two voices when, over the course of three
notes, the lines move in contrary motion and the ending two pitches are a “flip”
or “exchange” of the two starting pitches. (ex. Upper voice moving down by step D,
C, B and the lower voice moving up B, C, D: the resulting series of intervals is
3,8,6) This is considered a strength in counterpoint.
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- NOTE: Why are we learning counterpoint? - Some Theory texts do not cover
counterpoint in the Theory 1 scope and sequence. Advanced counterpoint study is often
offered at University as an entire separate one or two semester following Theory
4. We are learning the topic because
- (1) Several texts now do introduce the concept early on
- (2) Studying the characteristics of counterpoint prepares for Soprano Alto Tenor
Bass voice leading, allowing study of several of the elements first with just two
voices instead of four.
- (3) Counterpoint is an important concept for all musicians to at least be aware,
but is often only a required course for composition and/or performance majors. If
not introduced now, it is possible for Music Ed, Music Therapy, and other Music students
to never be introduced to counterpoint.
- (4) The scope of counterpoint we study at this time should be thought of as an introduction
only. You will be able to define what it is, identify the different species, and
gain a glimpse of what is involved.
(Laitz's The Complete Musician covers 1st and 2nd species counterpoint, Francoli's
Harmony in Context covers 1st through 4th species, and Clendinning's The Musician's
Guide covers 1st through 5th. Kostka's Tonal Harmony does not formally introduce
counterpoint).
https://youtu.be/S_UjoKg5uag
Objective 11.2: Identify the occurrence of a chromatic half step error, a cross relation
error, and a voice exchange (strength) in regards to counterpoint