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Modal Counterpoint

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In the first semester we practiced modal 2-part counterpoint. The purpose of this work was to look at the relationship between two melodies without regard for any considerations of chordal harmony or chord progression. Modal counterpoint teaches the fundamental independence of voices that are necessary to write functional harmony expressively.

To review the principles of modal counterpoint, go to Chapter 4G and Chapter 4H in book 1.

In the Burkhart Anthology that you have purchased for this (and next semester's) course, there are three examples of two-part modal counterpoint by de Lassus that you should study. They are perfect examples of this style.

Gaining fluency in modal counterpoint is an entire course in itself. For the purposes of this semester—which is about tonal four-part writing and tonal composition—there are lessons and procedures concerning modal counterpoint that I want you to carry forward. They are:

Parallel and contrary motion

One fundamental lesson from two part modal counterpoint is to the importance of balancing parallel and contrary motion. Thus:

  1. Parallel motion between the imperfect intervals—6ths and 3rds—is always good. If carried on two long, however, we lose the sense of independence of the voices. Nevertheless, there is a kind of 'sweetness' to the sound of parallel thirds and sixths, and this is in fact a fundamental sonority in all tonal music.
  2. Parallel motion between octaves is always to be avoided because it completely obliterates any sense of two independent melodies.
  3. Parallel motion between fourths and fifths is to be avoided for much the same reason—they are so close to each other in harmonic ratio (3:2) that one loses a sense of independent line. Plus, there is rather strange quality to parallel fifths that tends to take away from the sense of key center. Finally, one cannot move in parallel motion in fifths or fourths for very long before hitting the tritone, and a parallel perfect interval moving into a tritone is the ugliest sound of all in the style of music.
  4. Because of the open quality of octaves and fifths, direct motion into a fifth or octave is also to be always avoided in this style. This is simply good practice, because this direct mtion into a fifth will also be avoided in a great deal of part writing as well.

Consonance and Dissonance

The law of consonance and dissonance is simple:

  1. Octaves and Fifths are extreme consonances, so extreme in fact that tend to blur into one sound.
  2. Thirds and Sixths are "sweet" consonances and always sound good in two part writing.
  3. Seconds and Sevenths are considered dissonances to their higher integer ratios are to be avoided except when properly prepared and resolved.

Preparation and Resolution

In general, in this style:

  1. Dissonances are never stuck abruptly, especially on a strong beat, but are always prepared in a previous passage.
  2. In second and third species counterpoint, dissonances appear as passing notes on weak beats, and always reach consonant notes when the cantus firmus changes or when the music reaches a strong or stressed beat.
  3. In fourth species counterpoint, dissonances sound on strong beats, but they are always prepared by consonances on the previous beat, and then are tied over the barline into a dissonance. The dissonance then resolves by step in the weak beat of the measure. This is an extremely expressive device that we will make full use of in our four-part tonal writing.
  4. Less often, a dissonance can occur on a strong beat, but then it will immediately resolve to a consonance. This is the principle of the appoggiatura or leaning tone.
  5. Fifth species counterpoint makes full use of all of the above principles in a way that is fluid and creative. Fifth species counterpoint is essentially the art of contrapuntal composition.

Independence of voices

The goal of modal counterpoint, as is also the goal of four-part tonal writing, is independence of the voices. When doing any part writing, always think that you are writing for two or four musicians, not just putting notes on paper (or screen). Always imagine that four musicians are either singing or playing your lines and you will be able to write good independent voice parts.

Thinking melodically

Finally, building on the last point, always write melodically. Why is Bach and all of Renaissance music so much fun to sing? Because everybody has a melody. Always write musically satisfying lines and you will be on your way to becoming an expressive composer.

The next page will explore these areas in greater detail.

Next: 1B Modal Counterpoint for 21st Century Musicians