THE "COUNTERPOINT GAME" – Cantus Firmus, Part 2: Tempo, Direction, Conjunct vs. Disjunct,
Skips and Leaps [TEMPO] As suggested by musicologist Peter
Schubert (book referenced in the Description), whole notes mark the downbeats of the cantus
firmus.
In our counterpoint exercises, whole notes represent the basic pulse.
In this game, the whole notes move along at 60 to 80 bpm.
Don't forget!
Each whole note of the CF represents a DOWNBEAT, regardless of how many there are in a bar
– in fact, there may not be ANY bar lines at all!
Eventually, counterpoint lines of shorter note values will be added and synchronized
to the whole notes of the CF.
For example:
Every cantus firmus has a high point, an unrepeated
climax.
That single highest tone functions both as a goal
to ascend to, and the start of a descending curve back to the tonic.
And btw, the answer to the previous multiple choice question is "c) 11."
The current example features mostly "conjunct"
motion, which means "stepwise" motion.
In this CF, there are two skips, and a single leap of a P4.
The rest of the line walks along on adjacent scale degrees.
[Course Definitions: Skips | Leaps] For the instructional purpose of this course, we define
a "SKIP" as a diatonic 3rd – skipping over one scale tone – and a "LEAP" as
a diatonic 4th or larger – because of the leap over two (or more) scale degrees.
In themselves, leaps and skips are not bad.
In fact, a totally conjunct line – i.e., stepwise line – gets boring pretty quick.
The addition of one or more leaps and/or skips raises the melodic interest quotient.
However, … IF there are too many leaps, each tone becomes
an island unto itself; in this line, there is little horizontal continuity:
Too much spice – too much disjunctive motion – is not useful for a cantus – which literally
means "song."
It follows that smaller intervals are less disruptive to song-flow
than large intervals.
After a step, or a diatonic skip of a 3rd, it is okay for the line to keep going in the
same direction, as does this CF after the first skip of a third.
Following a leap of a 4th, it is more advisable to reverse direction, but as can be seen in
this CF (the top line) a continuation in either direction is still feasible if by a diatonic
step or (no larger than) a skip of a diatonic 3rd.
Leaps larger than a 4th tend to disrupt song-flow, even when restricted to the Acceptable Intervals.
A line containing three or more large leaps – P5s, 6ths, or octaves – is NOT usually
acceptable.
This otherwise interesting line won't work well as a CF, due to the many large leaps!
Leaps of a 5th, 6th, or Octave.
It is best to change direction after a large leap, then continue in that reverse direction
by steps or skips – i.e., by a diatonic 2nd or 3rd.
In bars 7-9 of the CF line, notice the change of direction, just after a leap of a P5.
[LEAP TREATMENT – SUMMARY] From two to four leaps ARE allowed in a CF of eight to 16 tones.
Never leap three times in a row.
Never leap twice in the same direction.
A change of direction should follow a leap of a 4th.
After large leaps – a 5th or more – the change of direction ought to be stepwise. Aaaaand ...
Now you may try your hand at creating a couple
of cantus firmi, eight or more bars in length (but no more than 16 bars each).
You are welcome to refine the CF you experimented with after our last talk.
Use pencil, and the clef and tonic key of your choice!
[SUMMARY] For reference, here is a summary of the Counterpoint Game Rules we have learned
so far.
Feel free to take a picture!
Looking forward to seeing and hearing your work!
Thank you for watching! [music/audio credit]
[Copyright © Mark Priest, 2017]
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