A Manual of Sixteenth-century Contrapuntal StyleThis volume explores the expressive power of sixteenth-century vocal polyphony, giving special emphasis to the development of aural familiarity with the style. Every element of sixteenth-century counterpoint is defined, described, and liberally illustrated, included for analysis and singing are complete compositions and movements by Palestrina, Lasso, Victoria, Byrd, Morales, and Joaquin. |
From inside the book
Results 1-5 of 24
Page 7
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 11
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 16
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 17
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 22
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Contents
Preface | 7 |
An Overview of the Style | 11 |
Notation and Text Underlay | 13 |
Performance Practice | 14 |
Transposition | 17 |
Cadence and Modulation | 18 |
Practical Considerations | 19 |
Latin Pronunciation | 20 |
Quarter Notes and Leaps | 51 |
Eighth Notes | 53 |
TwoVoice Counterpoint with All Note Values | 57 |
Imitation | 61 |
Double Counterpoint | 62 |
Formal Structure | 65 |
TwoVoice Compositions for Analysis | 67 |
ThreeVoice Counterpoint | 71 |
Rhythm | 22 |
Note Values and Rests | 23 |
Tempo | 24 |
Melody | 28 |
Intervals | 29 |
Repeated Notes | 31 |
Style and Contour | 32 |
Beginning Melody Writing | 33 |
Vocal Range | 34 |
Contour and Rhythmic Aspects | 36 |
Summary and Application | 37 |
Beginning TwoVoice Counterpoint | 40 |
Contour and Linear Movement | 41 |
Dissonance | 43 |
Imitation | 46 |
Melody Writing with All Note Values | 50 |
Cadence | 73 |
Dissonance | 76 |
Imitation | 84 |
ThreeVoice Compositions | 87 |
Counterpoint in Four Voices The Motet | 96 |
Imitation | 99 |
Triple Meter | 101 |
The Motet | 105 |
Counterpoint in More Than Four Voices The Mass | 116 |
Double and Triple Chorus Polychoral Style | 128 |
The Mass | 132 |
Bibliography | 135 |
List of Musical Examples | 138 |
140 | |
Common terms and phrases
accent Agnus approached and left ascending leap augmented bass beginning Benedictus breve cadence points cambiata canon cantus firmus century choirs composers composition consonant contrapuntal counterpoint Credo Missa ctus descending dissonance dominant Dorian mode doubled eighth notes Example fifth final cadence fourth free imitation frequently ga-na Gloria half note half step half-note passing tone Ho-san homorhythmic Hosanna imitating voice intervals inversion Kyrie Lasso leading tone leading-tone Lord lower voice Lydian Magnificat Mass measure melisma melodic line melody mnis motet movement musica ficta notation note values octave offbeat Palestrina passage passing tone Penitential Psalms phrase pitch plagal plainsong points of imitation polyphonic portamento quarter notes resolution note rhythm rhythmic Sanctus second half sections singing sixteenth sixteenth-century music stepwise stra style tenor text setting texture theme third toni transposed triad triple tritone unison upper voice verse Victoria vocal voice enters whole note writing