Music Theory

  Lesson 14 February 16th, 2021 Lesson 14 Lecture notes: The fourth-species counterpoint introduces suspension , which is a harmonic dissonance that falls on a strong beat . The fourth-species counterpoint is an elaboration that uses rhythmic displacement or syncopation that ties a note from one bar to the next. A suspension  consists of three parts : preparation , suspension , and resolution . A suspension can be grouped into two categories : upper voice suspension , which includes 4-3 , 7-6 , and 9-8 , and lower voice suspension , which includes 2-3 , and 9-10 .  Consonant intervals can be tied to another consonant interval over the bar line in the fourth-species counterpoint. The fifth-species counterpoint includes the elements from all the previous counterpoints from first to fourth . The photo above shows a fourth-species counterpoint beginning on a P8. The photo above shows a fifth-species counterpoint beginning on a P8. The video above describes the basics of t

  Lesson 13 February 9th, 2021 Lesson 13 Lecture notes: The second-species counterpoint has two notes (2:1) to one note over the cantus firmus. The third-species  counterpoint has four notes (4:1) to one note over the cantus firmus. The second-species counterpoint has one strong beat on the first note  and one weak beat on the second note . The third-species counterpoint has two strong beats on beats one and three and two weak beats on beats two and four . In the second and third species , the strong beats must contain consonant intervals , and the weak beats may include consonant or dissonant intervals . The last note in the second species  should end on a strong beat or 1:1 . Passing tones are introduced in the second and third species counterpoint, which generally fall on weak beats and are approached in stepwise motion . The melodic motion should be primaril y stepwise when writing counterpoints.  The photo above shows a second-species counterpoint begin

Lesson 12 February 3rd, 2021 Lesson 12 Lecture notes: The  first-species counterpoint consists of note-to-note intervals or 1:1 . There  is a corresponding whole note in the counterpoint line for every whole note in the Cantus Firmus . There are only strong beats in the first-species counterpoint, which require consonant intervals . Repeated fifths and octaves are only approached using contrary motion in the first-species counterpoint. Repeating notes or Oblique motion is not allowed to be used in the first-species counterpoint. The consonant intervals available to use in the first-species counterpoint are the PU (Perfect Unison) , M/m 3rd (Major or minor third) , P5 (Perfect fifth) , M/m 6th , (Major or minor sixth) , and P8 (Perfect eighth) . Dissonant intervals are not allowed in strict first-species counterpoints, which are the 2nds , 7ths , tritones , and 4ths . The above photo shows an eight-bar first -species counterpoint starting on a P8  (perfect eighth