{"id":599,"date":"2023-05-11T19:03:30","date_gmt":"2023-05-11T19:03:30","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/two-part-counterpoint\/"},"modified":"2026-03-30T18:47:36","modified_gmt":"2026-03-30T18:47:36","slug":"two-part-counterpoint","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/two-part-counterpoint\/","title":{"raw":"Two-part counterpoint","rendered":"Two-part counterpoint"},"content":{"raw":"<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 21<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>General guiding principles common to examples of two-part counterpoint in a variety of tonal styles<\/li>\r\n \t<li>How to analyze interval content and motion between parts in two-part counterpoint<\/li>\r\n \t<li>Strategies for writing two-part counterpoint<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Counterpoint\"><\/a>Counterpoint<\/h1>\r\nThe term \"[pb_glossary id=\"2436\"]counterpoint[\/pb_glossary]\" comes from the Latin \"contrapunctus,\" meaning \"note against note.\" Whenever two or more melodies sound at the same time, we consider this an example of counterpoint. The term was first used in the fourteenth century to describe the combination of simultaneously sounding musical lines according to a system of rules. Sets of rules governing how counterpoint works vary among different tonal styles and time periods. This chapter seeks to lay out the most general guiding principles <span>for counterpoint with two parts, which are shared among a wide range of tonal styles.<\/span> The most important concepts related to understanding contrapuntal structure include (1) [pb_glossary id=\"2439\"]consonance[\/pb_glossary] and [pb_glossary id=\"2440\"]dissonance[\/pb_glossary], and (2) [pb_glossary id=\"2453\"]types of motion[\/pb_glossary].\r\n<h1><a id=\"Consonance and dissonance\"><\/a>Consonance and dissonance<\/h1>\r\nThe concepts of [pb_glossary id=\"2439\"]consonance[\/pb_glossary] and [pb_glossary id=\"2440\"]dissonance[\/pb_glossary], as applied to [pb_glossary id=\"2441\"]harmonic intervals[\/pb_glossary] formed between two parts, will help to guide our understanding of counterpoint. [pb_glossary id=\"2442\"]Consonant intervals[\/pb_glossary] are generally considered to be stable or create \u201cagreement,\u201d bringing tonal resolution. <span>Perceptions of consonance differ among styles and time periods; this chapter will consider consonant intervals to be the [pb_glossary id=\"2443\"]perfect consonances[\/pb_glossary] P1, P5, and P8, and the [pb_glossary id=\"2444\"]imperfect consonances[\/pb_glossary] mi3, MA3, mi6, and MA6.<\/span>\r\n\r\n[pb_glossary id=\"2447\"]Dissonant intervals[\/pb_glossary] are generally considered to be unstable or create \u201cdisagreement,\u201d bringing tension and impelling the music forward to a more stable point. This chapter will consider dissonant intervals to be the P4, mi2, MA2, mi7, MA7, and [pb_glossary id=\"2446\"]tritone[\/pb_glossary] (A4\/d5). To illustrate one perception of consonance and dissonance, as they relate to intervals, scholar Leo Kraft offers a continuum, in which every interval is placed according to its degree of \"stability\" or \"activity.\" This chart appears in Figure 21-1.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 21\u20111. Leo Kraft\u2019s consonance and dissonance chart[footnote]Leo Kraft, <em>Gradus<\/em> (New York: W.W. Norton, 1976), 29.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-1024x267.png\" alt=\"image of chart by Leo Kraft\" width=\"1024\" height=\"267\" class=\"alignnone wp-image-2450 size-large\" \/><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\nIn general, dissonant intervals need to be treated with care because of their instability. To this end, it is best to approach and resolve dissonant intervals by step to a consonant interval.\r\n<h1><a id=\"Types of motion\"><\/a>Types of motion<\/h1>\r\nUnderstanding the [pb_glossary id=\"2453\"]types of motion[\/pb_glossary] between two parts is critical to understanding how counterpoint works. There are four types of motion:\r\n<ol>\r\n \t<li>[pb_glossary id=\"2457\"]Parallel[\/pb_glossary]: motion resulting from two parts moving in the same direction (both up or both down) by the same \"amount,\" such that the starting and ending intervals are of the same [pb_glossary id=\"872\"]quantity[\/pb_glossary] (e.g., parallel thirds)<\/li>\r\n \t<li>[pb_glossary id=\"2456\"]Similar[\/pb_glossary]: motion resulting from two parts moving in the same direction (both up or both down)<\/li>\r\n \t<li>[pb_glossary id=\"2458\"]Oblique[\/pb_glossary]: motion in which one part moves, while the other stays on the same pitch<\/li>\r\n \t<li>[pb_glossary id=\"2455\"]Contrary[\/pb_glossary]: motion resulting from two parts moving in opposite directions (one up, the other down)<\/li>\r\n<\/ol>\r\nExample 21-1 provides an illustration of each type of motion in musical notation. In general, we will prefer contrary and oblique motion, especially when dealing with dissonant intervals. We will use parallel motion only with [pb_glossary id=\"2444\"]imperfect consonances[\/pb_glossary].\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20111. Types of motion<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1024x331.png\" alt=\"image of score showing types of motion\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-2460\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Examples of two-part counterpoint\"><\/a>Examples of two-part counterpoint<\/h1>\r\nThe best way to see how two-part counterpoint works is not necessarily to memorize lists of rules, but rather to examine different musical examples to see what general principles they have in common. If you are interested in learning how to write counterpoint in a specific tonal style, you can focus your study on a particular body of music. This chapter looks at counterpoint examples from a wide range of tonal styles and thus draws some general conclusions from what most share in common.\r\n\r\nExample 21-2 shows a short passage of counterpoint, with annotations showing the analysis of harmonic intervals between parts. This example has the following features:\r\n<ul>\r\n \t<li style=\"font-weight: 400\">It uses contrary and oblique motion exclusively<\/li>\r\n \t<li style=\"font-weight: 400\">It uses mostly stepwise motion in each part<\/li>\r\n \t<li style=\"font-weight: 400\">The dissonant P4 is approached and resolved by step in the lower voice while the upper voice is sustained<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20112. Annotated transcription of the Beach Boys, \u201cGood Vibrations,\u201d 3:13\u20133:19[footnote]Adaptation of transcription by Kevin Holm-Hudson, <em>Music Theory Remixed : A Blended Approach for the Practicing Musician<\/em> (New York: Oxford University Press, 2017), 141. Adapted with the permission of the author, annotations mine.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-1024x242.png\" alt=\"image of score\" width=\"1024\" height=\"242\" class=\"alignnone size-large wp-image-2467\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-beach-boys.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7tf64lNC31lWlTsih0nfZf?si=5d1ec8e93ab04569\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century American rock band <strong>the Beach Boys\u00a0<\/strong>by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46067\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Rob C. Wegman.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 21\u20113, an excerpt of a [pb_glossary id=\"1802\"]fugue[\/pb_glossary] by Romantic composer Clara Schumann, has the following features:\r\n<ul>\r\n \t<li>When one line is active, the other is less so<\/li>\r\n \t<li>It uses mostly stepwise motion<\/li>\r\n \t<li>Its leaps occur only when outlining chords<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20113. Clara Schumann, op. 16, Fugue no. 1 in G minor, mm. 1\u20137<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-1024x448.png\" alt=\"image of score\" width=\"1024\" height=\"448\" class=\"alignnone size-large wp-image-2472\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-clara-schumann-fugue.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Jozef de Beenhouwer, on <a href=\"https:\/\/open.spotify.com\/track\/7z1KUfqj2J4snvLHtuO8KX?si=eb5742913f1d4660\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer and pianist <strong>Clara Schumann<\/strong> (1819\u20131896) by reading this <a href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000380188\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Nancy B. Reich and revised by Natasha Loges.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 21\u20114 shows an excerpt by Renaissance composer Giovanni Giacomo Gastoldi, with annotations showing the analysis of harmonic intervals between parts. Note that the bottom staff in this example sounds an octave lower than written, because the treble clef has an \"8\" written just below it.[footnote]This is the same clef symbol used in choral music today for most tenor parts.[\/footnote] The example has the following features:\r\n<ul>\r\n \t<li>Similar to Example 21-3, when one line is active, the other is less so<\/li>\r\n \t<li>It uses mostly stepwise motion<\/li>\r\n \t<li>All dissonant intervals (highlighted in the example) resolve by step to consonant ones<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20114. Annotated score for Giovanni Giacomo Gastoldi, Bicinium no. 1, mm. 1\u20138[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/a\/a1\/IMSLP277497-PMLP424538-01-duet---0-score.pdf\" target=\"_blank\" rel=\"noopener\">\"Bicinium No.1 (Gastoldi, Giovanni Giacomo)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Garvin,_Allen\" target=\"_blank\" rel=\"noopener\">Allen Garvin<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 3.0<\/a><a><\/a><\/span> Annotations are mine.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-1024x451.png\" alt=\"image of annotated score\" width=\"1024\" height=\"451\" class=\"alignnone size-large wp-image-2478\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-gastoldi.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Ensemble Baroque du Save\u0300s Gascon, on <a href=\"https:\/\/open.spotify.com\/track\/2Os9MhFWDvQYGortHq3Fk6?si=8e3b68d64cee45f6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Italian composer <strong>Giovanni Giacomo Gastoldi<\/strong> (1554\u20131609) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.10721\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Denis Arnold and revised by Iain Fenlon.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 21-5, a transcription of a song by Van Morrison, features colored annotations showing different types of motion, as well as numbers indicating an analysis of harmonic intervals between parts. <span>The colored highlighting indicates motion: oblique motion in yellow, contrary motion in green, and parallel motion in blue.<\/span> The notable features of Example 21-5 include:\r\n<ul>\r\n \t<li>Use of [pb_glossary id=\"2442\"]consonant intervals[\/pb_glossary] on downbeats<\/li>\r\n \t<li>Use of [pb_glossary id=\"2458\"]oblique motion[\/pb_glossary] in the first half of each bar, shown in yellow<\/li>\r\n \t<li>Use of [pb_glossary id=\"2455\"]contrary motion[\/pb_glossary] in the last half of each bar, shown in green<\/li>\r\n \t<li>Limited use of [pb_glossary id=\"2457\"]parallel motion[\/pb_glossary] with imperfect consonances only, shown in blue<\/li>\r\n \t<li>Emphasis on [pb_glossary id=\"2485\"]chord tones[\/pb_glossary] in melody<\/li>\r\n \t<li>Use of chord roots on downbeats in the bass<\/li>\r\n<\/ul>\r\nExample 21-5 also features links to black-and-white renderings of each type of motion beneath the audio.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21-5. Annotated transcription of Van Morrison, \u201cBrown Eyed Girl,\u201d 0:00\u20130:16<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-1024x693.png\" alt=\"image of annotated score\" width=\"1024\" height=\"693\" class=\"alignnone size-large wp-image-2486\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-van-morrison-Brown-Eyed-Girl.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3yrSvpt2l1xhsV9Em88Pul?si=bb0a310f288a49d5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nAccess black and white image showing oblique motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5b-van-morrison-oblique-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.5b oblique motion<\/a>\r\n\r\nAccess black and white image showing contrary motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5c-contrary-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.5c contrary motion<\/a>\r\n\r\nAccess black and white image showing parallel motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5d-parallel-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.5d parallel motion<\/a>\r\n\r\nLearn about Northern Irish singer-songwriter <strong>Van Morrison<\/strong> (b. 1945) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267250\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Stephanie Conn.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 21-6 shows an analysis of harmonic interval content in a lively duet for two violins by B\u00e9la Bart\u00f3k. Most dissonant intervals, highlighted in the example, are approached and resolved by step to a consonant interval, and they are used sparingly. Example 21-7 shows the same excerpt with annotations showing types of motion. Observe the following features:\r\n<ul>\r\n \t<li>Oblique motion, highlighted in yellow, and contrary motion, highlighted in green, are used more than any other type of motion<\/li>\r\n \t<li>The only harmonic intervals used with parallel motion, highlighted in blue, are sixths and thirds (imperfect consonances)<\/li>\r\n \t<li>Similar motion, highlighted in red, is used the least in this example<\/li>\r\n<\/ul>\r\nExample 21-7 also features links to black-and-white renderings of each type of motion.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20116. Analysis of harmonic interval content in B\u00e9la Bart\u00f3k, <em>44 Duos for Two Violins<\/em>, no. 14 \u201cP\u00e1rnas T\u00e1nc\u201d (\u201cCushion Dance\u201d), mm. 1\u201314<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-1024x420.png\" alt=\"image of annotated score\" width=\"1024\" height=\"420\" class=\"alignnone size-large wp-image-2492\" \/><\/a>\r\n<p style=\"text-align: center\"><strong>\u2018XIV. Pa\u0301rnas Ta\u0301nc\u2019 (\u2018Cushion Dance\u2019) from <\/strong><span><strong><em>44 Duos for Two Violins<\/em><\/strong>\r\n<\/span><span><\/span><span>Composed by Bela Bartok\r\n\u00a9 1933 Boosey &amp; Hawkes\r\nReproduced by permission of Boosey &amp; Hawkes<\/span><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by violinists Wanda Wilkomirska and Mih\u00e1ly Sz\u0171cs, on <a href=\"https:\/\/open.spotify.com\/track\/30H4fp4iaBcjbHLUAKQRsN?si=75cc9fc66c5e4961\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Hungarian composer <strong>B\u00e9la Bart\u00f3k <\/strong>(1881\u20131945) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40686\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Malcolm Gillies.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20117. Types of motion in B\u00e9la Bart\u00f3k, <em>44 Duos for Two Violins<\/em>, no. 14 \u201cP\u00e1rnas T\u00e1nc\u201d (\u201cCushion Dance\u201d), mm. 1\u201314<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-1024x426.png\" alt=\"image of annotated score\" width=\"1024\" height=\"426\" class=\"alignnone size-large wp-image-2498\" \/><\/a>\r\n<p style=\"text-align: center\"><strong>\u2018XIV. Pa\u0301rnas Ta\u0301nc\u2019 (\u2018Cushion Dance\u2019) from <\/strong><span><strong><em>44 Duos for Two Violins<\/em><\/strong>\r\n<\/span><span><\/span><span>Composed by Bela Bartok\r\n\u00a9 1933 Boosey &amp; Hawkes\r\nReproduced by permission of Boosey &amp; Hawkes<\/span><\/p>\r\nAccess black-and-white image showing oblique motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7b-oblique-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7b oblique motion<\/a>\r\n\r\nAccess black-and-white image showing contrary motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7c-contrary-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7c contrary motion<\/a>\r\n\r\nAccess black-and-white image showing parallel motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7d-parallel-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7d parallel motion<\/a>\r\n\r\nAccess black-and-white image showing similar motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7e-similar-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7e similar motion<\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1xa8o4x7v8JXHp43c4sa73GsvZViXD9o9qVI7FXolNI4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Slideshow for two-part counterpoint<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this chapter here: <a href=\"https:\/\/open.spotify.com\/playlist\/0k7TgyzNeYJXqp3YsvdCxE?si=3c23ffdf1c2742cd\" target=\"_blank\" rel=\"noopener\">Spotify playlist for two-part counterpoint<\/a><\/div>\r\n<h1><a id=\"EXERCISE 21-1 Counterpoint analysis\"><\/a>EXERCISE 21-1 Counterpoint analysis<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 21-1 Counterpoint analysis<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nStudy and listen to each of the following excerpts, and then answer the questions and complete the tasks that follow.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 21-1. Simplified transcription of Phoebe Bridgers, \u201cFuneral,\u201d 0:36\u20130:48<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-scaled.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-1024x201.png\" alt=\"image of musical score\" width=\"1024\" height=\"201\" class=\"alignnone wp-image-7206 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-bridgers-funeral.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2Tbym0L4Xlox9nol0YzPct?si=d4833cec33544cb8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter\u00a0<strong>Phoebe Bridgers\u00a0<\/strong>(b. 1994) by reading her <a href=\"https:\/\/www.last.fm\/music\/Phoebe+Bridgers\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on lastfm.com.\r\n\r\n<\/div>\r\n<\/div>\r\nQuestions for Worksheet example 21-1:\r\n<ol>\r\n \t<li>Study the interval content between the bass line (bottom staff) and the vocal line (top staff). In between the staves, write the numbers representing each harmonic interval.<\/li>\r\n \t<li>Identify the interval labels that are dissonant and circle them. For each dissonant interval, consider the following questions:\r\na) Does the primary note involved in the dissonance resolve by step?\r\nb) Does the dissonance resolve to a consonant interval?<\/li>\r\n \t<li>Consider harmony. Based on the lead sheet symbols above the staff and thinking in the key of B major, provide Roman numerals beneath the staff to show chord function. For any inverted chords, please also use figured bass to show the inversion.<\/li>\r\n \t<li>What type of cadence occurs at the end of this excerpt?<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 21-2. Etienne Ozi, <em>Six duos pour deux bassons<\/em>, Duo 5, Rondo: Allegretto, mm. 1\u201316<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-1024x674.png\" alt=\"image of score\" width=\"1024\" height=\"674\" class=\"alignnone size-large wp-image-5793\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-ozi-duo.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by bassoonists Dillon Meacham and Patrick Broder, on <a href=\"https:\/\/youtu.be\/qkN-M-eNZuU?si=aETS09XBp6GalgMn\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.\r\n\r\nLearn about French bassoonist and composer <strong>Etienne Ozi<\/strong> (1754\u20131813) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.20627\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Harold E. Griswold.\r\n\r\n<\/div>\r\n<\/div>\r\nQuestions for Worksheet example 21-2:\r\n<ol>\r\n \t<li>What key is this excerpt in?<\/li>\r\n \t<li>Study the interval content between the parts. In general, which type of interval\u2014perfect consonances, imperfect consonances, or dissonances\u2014is used most?<\/li>\r\n \t<li>Study the motion between parts. In general, which type of motion\u2014contrary, oblique, similar, or parallel\u2014is used more than any other?<\/li>\r\n \t<li>Compare mm. 1\u20138 to mm. 9\u201316. How are these two subsections related?<\/li>\r\n \t<li>Consider implied harmony. <span>If we hear cadences every four bars, what type of cadence<\/span> is implied at the beginning of m. 4? In mm. 7\u20138? In m. 12? In mm. 15\u201316?<\/li>\r\n<\/ol>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex21.1-Counterpoint-analysis-rev2.pdf\" target=\"_blank\" rel=\"noopener\">Ex21.1 Counterpoint analysis<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0k7TgyzNeYJXqp3YsvdCxE?si=3c23ffdf1c2742cd\" target=\"_blank\" rel=\"noopener\">Spotify playlist for two-part counterpoint<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Writing two-part counterpoint\"><\/a>Writing two-part counterpoint<\/h1>\r\nFrom this sample of excerpts we have studied, we can draw some general principles to guide our own writing of music in two parts. While these are not immutable rules, best practices include:\r\n<ol>\r\n \t<li style=\"font-weight: 400\">Use mostly stepwise motion<\/li>\r\n \t<li style=\"font-weight: 400\">Leaps should generally outline chord tones<\/li>\r\n \t<li style=\"font-weight: 400\">Strive for rhythmically independent lines\u2014when one line is active, consider using less activity in the other part<\/li>\r\n \t<li style=\"font-weight: 400\">Successive dissonances are rare (don\u2019t do it)<\/li>\r\n \t<li style=\"font-weight: 400\">Prepare and resolve dissonances by step to a consonant interval<\/li>\r\n \t<li style=\"font-weight: 400\">Prefer contrary and oblique motion<\/li>\r\n \t<li style=\"font-weight: 400\">Use parallel motion only with successive thirds and sixths<\/li>\r\n<\/ol>\r\nAs in the Bart\u00f3k example, when contrary and oblique motion are used with stepwise motion in one or both parts, and there are no successive dissonant intervals, you can\u2019t go wrong!\r\n\r\nExample 21-8 shows three different solutions for writing a contrapuntal line against a pre-existing melody. The first passage, labeled \"given passage,\" presents the pre-existing melody. After listening to and studying it, we identify the key as C major and likely understand its harmonic implication as I - IV - V - I, with a harmonic rhythm of one chord per bar. <span>Each of the next three passages presents one possible solution in the upper staff with a different rhythmic relationship to the given line, moving more quickly (Solution 1), more slowly (Solution 2), and at the same rate of motion (Solution 3).<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 21\u20118. Model with three solutions for writing two-part counterpoint<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nGiven passage:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-1024x197.png\" alt=\"image of score with melody in bass clef: C E F A G G C\" width=\"1024\" height=\"197\" class=\"alignnone wp-image-2530 size-large\" \/><\/a>\r\n\r\nSolution 1:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-1024x198.png\" alt=\"image of score\" width=\"1024\" height=\"198\" class=\"alignnone size-large wp-image-2531\" \/><\/a>\r\n\r\nSolution 2:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-1024x196.png\" alt=\"image of score\" width=\"1024\" height=\"196\" class=\"alignnone size-large wp-image-2532\" \/><\/a>\r\n\r\nSolution 3:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-1024x202.png\" alt=\"image of score\" width=\"1024\" height=\"202\" class=\"alignnone size-large wp-image-2533\" \/><\/a>\r\n\r\n[audio m4a=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-Counterpoint-solutions.m4a\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 21-2 Writing two-part counterpoint\"><\/a>EXERCISE 21-2 Writing two-part counterpoint<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 21-2 Writing two-part counterpoint<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFor each passage, study the melody already written for you and identify the key. Then, on the blank staff provided, write a melody against this part to create counterpoint. Do not change the given melody. Pro tip: When one part is more rhythmically active, it often works well to write a less rhythmically active part in counterpoint to it. Be sure to follow the counterpoint principles we\u2019ve studied:\r\n<ul>\r\n \t<li>Start and end on a consonant interval<\/li>\r\n \t<li>Use more stepwise motion than leaps<\/li>\r\n \t<li>Restrict leaps to outlining chord tones (all notes approached by leap should be consonant with the other part)<\/li>\r\n \t<li>Prefer contrary and oblique motion, unless using successive imperfect consonances (thirds and sixths) in parallel motion<\/li>\r\n \t<li>Prepare and resolve all dissonances by step to a consonant interval<\/li>\r\n<\/ul>\r\nAlso, follow these principles, which relate to tonal aspects of melody construction:\r\n<ul>\r\n \t<li>When in a minor key, raise the leading tone (scale degree [latex]\\hat{7}[\/latex], as in harmonic or ascending melodic minor)<\/li>\r\n \t<li>Do not double the leading tone (it\u2019s too unstable to have sounding at the same time in both parts)<\/li>\r\n \t<li>Have at least one part end on the tonic scale degree<\/li>\r\n<\/ul>\r\nPassage 1:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-1024x194.png\" alt=\"image of score with melody in bass clef: G - C - D - B\" width=\"1024\" height=\"194\" class=\"alignnone wp-image-2537 size-large\" \/><\/a>\r\n\r\nPassage 2:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-1024x201.png\" alt=\"image of score with melody in bass clef: A B C-sharp D E F-sharp E G-sharp A\" width=\"1024\" height=\"201\" class=\"alignnone size-large wp-image-2538\" \/><\/a>\r\n\r\nPassage 3:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-1024x201.png\" alt=\"image of score with melody in treble clef: F E-natural F D-flat C B-flat A-flat\" width=\"1024\" height=\"201\" class=\"alignnone size-large wp-image-2539\" \/><\/a>\r\n\r\nPassage 4:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-1024x197.png\" alt=\"image of score with melody in B minor\" width=\"1024\" height=\"197\" class=\"alignnone size-large wp-image-2540\" \/><\/a>\r\n\r\nPassage 5:\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-1024x195.png\" alt=\"image of score with melody in bass clef: D C-sharp D G A A D\" width=\"1024\" height=\"195\" class=\"alignnone size-large wp-image-2541\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex21.2-Writing-two-part-counterpoint.pdf\" target=\"_blank\" rel=\"noopener\">Ex21.2 Writing two-part counterpoint<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 21<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/\" target=\"_blank\" rel=\"noopener\">Kris Shaffer and Mark Gotham's chapter on species counterpoint<\/a> (Open Music Theory)<\/p>\r\n<a href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/12-basic-two-voice-interval-progressions\/\" target=\"_blank\" rel=\"noopener\"><span class=\"instancename\" id=\"yui_3_17_2_1_1696362721503_53\">Andre Mount's chapter on two-voice writing<\/span><\/a>\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 21<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>General guiding principles common to examples of two-part counterpoint in a variety of tonal styles<\/li>\n<li>How to analyze interval content and motion between parts in two-part counterpoint<\/li>\n<li>Strategies for writing two-part counterpoint<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a id=\"Counterpoint\"><\/a>Counterpoint<\/h1>\n<p>The term &#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2436\">counterpoint<\/a>&#8221; comes from the Latin &#8220;contrapunctus,&#8221; meaning &#8220;note against note.&#8221; Whenever two or more melodies sound at the same time, we consider this an example of counterpoint. The term was first used in the fourteenth century to describe the combination of simultaneously sounding musical lines according to a system of rules. Sets of rules governing how counterpoint works vary among different tonal styles and time periods. This chapter seeks to lay out the most general guiding principles <span>for counterpoint with two parts, which are shared among a wide range of tonal styles.<\/span> The most important concepts related to understanding contrapuntal structure include (1) <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2439\">consonance<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2440\">dissonance<\/a>, and (2) <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2453\">types of motion<\/a>.<\/p>\n<h1><a><\/a>Consonance and dissonance<\/h1>\n<p>The concepts of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2439\">consonance<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2440\">dissonance<\/a>, as applied to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2441\">harmonic intervals<\/a> formed between two parts, will help to guide our understanding of counterpoint. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2442\">Consonant intervals<\/a> are generally considered to be stable or create \u201cagreement,\u201d bringing tonal resolution. <span>Perceptions of consonance differ among styles and time periods; this chapter will consider consonant intervals to be the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2443\">perfect consonances<\/a> P1, P5, and P8, and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2444\">imperfect consonances<\/a> mi3, MA3, mi6, and MA6.<\/span><\/p>\n<p><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2447\">Dissonant intervals<\/a> are generally considered to be unstable or create \u201cdisagreement,\u201d bringing tension and impelling the music forward to a more stable point. This chapter will consider dissonant intervals to be the P4, mi2, MA2, mi7, MA7, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2446\">tritone<\/a> (A4\/d5). To illustrate one perception of consonance and dissonance, as they relate to intervals, scholar Leo Kraft offers a continuum, in which every interval is placed according to its degree of &#8220;stability&#8221; or &#8220;activity.&#8221; This chart appears in Figure 21-1.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 21\u20111. Leo Kraft\u2019s consonance and dissonance chart<a class=\"footnote\" title=\"Leo Kraft, Gradus (New York: W.W. Norton, 1976), 29.\" id=\"return-footnote-599-1\" href=\"#footnote-599-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-1024x267.png\" alt=\"image of chart by Leo Kraft\" width=\"1024\" height=\"267\" class=\"alignnone wp-image-2450 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-1024x267.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-300x78.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-768x200.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-1536x400.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-2048x534.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-225x59.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-21.1-Kraft-table-350x91.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p>In general, dissonant intervals need to be treated with care because of their instability. To this end, it is best to approach and resolve dissonant intervals by step to a consonant interval.<\/p>\n<h1><a><\/a>Types of motion<\/h1>\n<p>Understanding the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2453\">types of motion<\/a> between two parts is critical to understanding how counterpoint works. There are four types of motion:<\/p>\n<ol>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2457\">Parallel<\/a>: motion resulting from two parts moving in the same direction (both up or both down) by the same &#8220;amount,&#8221; such that the starting and ending intervals are of the same <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_872\">quantity<\/a> (e.g., parallel thirds)<\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2456\">Similar<\/a>: motion resulting from two parts moving in the same direction (both up or both down)<\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2458\">Oblique<\/a>: motion in which one part moves, while the other stays on the same pitch<\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2455\">Contrary<\/a>: motion resulting from two parts moving in opposite directions (one up, the other down)<\/li>\n<\/ol>\n<p>Example 21-1 provides an illustration of each type of motion in musical notation. In general, we will prefer contrary and oblique motion, especially when dealing with dissonant intervals. We will use parallel motion only with <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2444\">imperfect consonances<\/a>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20111. Types of motion<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1024x331.png\" alt=\"image of score showing types of motion\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-2460\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1024x331.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-300x97.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-768x248.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1536x497.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-2048x662.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-225x73.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-350x113.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Examples of two-part counterpoint<\/h1>\n<p>The best way to see how two-part counterpoint works is not necessarily to memorize lists of rules, but rather to examine different musical examples to see what general principles they have in common. If you are interested in learning how to write counterpoint in a specific tonal style, you can focus your study on a particular body of music. This chapter looks at counterpoint examples from a wide range of tonal styles and thus draws some general conclusions from what most share in common.<\/p>\n<p>Example 21-2 shows a short passage of counterpoint, with annotations showing the analysis of harmonic intervals between parts. This example has the following features:<\/p>\n<ul>\n<li style=\"font-weight: 400\">It uses contrary and oblique motion exclusively<\/li>\n<li style=\"font-weight: 400\">It uses mostly stepwise motion in each part<\/li>\n<li style=\"font-weight: 400\">The dissonant P4 is approached and resolved by step in the lower voice while the upper voice is sustained<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20112. Annotated transcription of the Beach Boys, \u201cGood Vibrations,\u201d 3:13\u20133:19<a class=\"footnote\" title=\"Adaptation of transcription by Kevin Holm-Hudson, Music Theory Remixed : A Blended Approach for the Practicing Musician (New York: Oxford University Press, 2017), 141. Adapted with the permission of the author, annotations mine.\" id=\"return-footnote-599-2\" href=\"#footnote-599-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-1024x242.png\" alt=\"image of score\" width=\"1024\" height=\"242\" class=\"alignnone size-large wp-image-2467\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-1024x242.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-300x71.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-768x182.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-1536x363.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-2048x484.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-65x15.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-225x53.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-Beach-boys-350x83.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-599-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-beach-boys.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-beach-boys.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.2-beach-boys.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7tf64lNC31lWlTsih0nfZf?si=5d1ec8e93ab04569\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century American rock band <strong>the Beach Boys\u00a0<\/strong>by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46067\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Rob C. Wegman.<\/p>\n<\/div>\n<\/div>\n<p>Example 21\u20113, an excerpt of a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_1802\">fugue<\/a> by Romantic composer Clara Schumann, has the following features:<\/p>\n<ul>\n<li>When one line is active, the other is less so<\/li>\n<li>It uses mostly stepwise motion<\/li>\n<li>Its leaps occur only when outlining chords<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20113. Clara Schumann, op. 16, Fugue no. 1 in G minor, mm. 1\u20137<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-1024x448.png\" alt=\"image of score\" width=\"1024\" height=\"448\" class=\"alignnone size-large wp-image-2472\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-1024x448.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-300x131.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-768x336.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-1536x671.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-2048x895.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-65x28.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-225x98.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-C-Schumann-350x153.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-clara-schumann-fugue.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-clara-schumann-fugue.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.3-clara-schumann-fugue.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Jozef de Beenhouwer, on <a href=\"https:\/\/open.spotify.com\/track\/7z1KUfqj2J4snvLHtuO8KX?si=eb5742913f1d4660\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer and pianist <strong>Clara Schumann<\/strong> (1819\u20131896) by reading this <a href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000380188\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Nancy B. Reich and revised by Natasha Loges.<\/p>\n<\/div>\n<\/div>\n<p>Example 21\u20114 shows an excerpt by Renaissance composer Giovanni Giacomo Gastoldi, with annotations showing the analysis of harmonic intervals between parts. Note that the bottom staff in this example sounds an octave lower than written, because the treble clef has an &#8220;8&#8221; written just below it.<a class=\"footnote\" title=\"This is the same clef symbol used in choral music today for most tenor parts.\" id=\"return-footnote-599-3\" href=\"#footnote-599-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a> The example has the following features:<\/p>\n<ul>\n<li>Similar to Example 21-3, when one line is active, the other is less so<\/li>\n<li>It uses mostly stepwise motion<\/li>\n<li>All dissonant intervals (highlighted in the example) resolve by step to consonant ones<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20114. Annotated score for Giovanni Giacomo Gastoldi, Bicinium no. 1, mm. 1\u20138<a class=\"footnote\" title=\"&quot;Bicinium No.1 (Gastoldi, Giovanni Giacomo)&quot; by Allen Garvin is licensed under CC BY-NC 3.0 Annotations are mine.\" id=\"return-footnote-599-4\" href=\"#footnote-599-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-1024x451.png\" alt=\"image of annotated score\" width=\"1024\" height=\"451\" class=\"alignnone size-large wp-image-2478\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-1024x451.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-300x132.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-768x338.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-1536x676.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-2048x902.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-65x29.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-225x99.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-Gastoldi-bicinium-no-1-annotated-350x154.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-gastoldi.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-gastoldi.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.4-gastoldi.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Ensemble Baroque du Save\u0300s Gascon, on <a href=\"https:\/\/open.spotify.com\/track\/2Os9MhFWDvQYGortHq3Fk6?si=8e3b68d64cee45f6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Italian composer <strong>Giovanni Giacomo Gastoldi<\/strong> (1554\u20131609) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.10721\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Denis Arnold and revised by Iain Fenlon.<\/p>\n<\/div>\n<\/div>\n<p>Example 21-5, a transcription of a song by Van Morrison, features colored annotations showing different types of motion, as well as numbers indicating an analysis of harmonic intervals between parts. <span>The colored highlighting indicates motion: oblique motion in yellow, contrary motion in green, and parallel motion in blue.<\/span> The notable features of Example 21-5 include:<\/p>\n<ul>\n<li>Use of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2442\">consonant intervals<\/a> on downbeats<\/li>\n<li>Use of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2458\">oblique motion<\/a> in the first half of each bar, shown in yellow<\/li>\n<li>Use of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2455\">contrary motion<\/a> in the last half of each bar, shown in green<\/li>\n<li>Limited use of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2457\">parallel motion<\/a> with imperfect consonances only, shown in blue<\/li>\n<li>Emphasis on <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_599_2485\">chord tones<\/a> in melody<\/li>\n<li>Use of chord roots on downbeats in the bass<\/li>\n<\/ul>\n<p>Example 21-5 also features links to black-and-white renderings of each type of motion beneath the audio.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21-5. Annotated transcription of Van Morrison, \u201cBrown Eyed Girl,\u201d 0:00\u20130:16<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-1024x693.png\" alt=\"image of annotated score\" width=\"1024\" height=\"693\" class=\"alignnone size-large wp-image-2486\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-1024x693.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-300x203.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-768x519.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-1536x1039.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-2048x1385.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-65x44.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-225x152.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-Van-Morrison-350x237.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-van-morrison-Brown-Eyed-Girl.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-van-morrison-Brown-Eyed-Girl.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5-van-morrison-Brown-Eyed-Girl.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3yrSvpt2l1xhsV9Em88Pul?si=bb0a310f288a49d5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Access black and white image showing oblique motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5b-van-morrison-oblique-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.5b oblique motion<\/a><\/p>\n<p>Access black and white image showing contrary motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5c-contrary-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.5c contrary motion<\/a><\/p>\n<p>Access black and white image showing parallel motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.5d-parallel-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.5d parallel motion<\/a><\/p>\n<p>Learn about Northern Irish singer-songwriter <strong>Van Morrison<\/strong> (b. 1945) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267250\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Stephanie Conn.<\/p>\n<\/div>\n<\/div>\n<p>Example 21-6 shows an analysis of harmonic interval content in a lively duet for two violins by B\u00e9la Bart\u00f3k. Most dissonant intervals, highlighted in the example, are approached and resolved by step to a consonant interval, and they are used sparingly. Example 21-7 shows the same excerpt with annotations showing types of motion. Observe the following features:<\/p>\n<ul>\n<li>Oblique motion, highlighted in yellow, and contrary motion, highlighted in green, are used more than any other type of motion<\/li>\n<li>The only harmonic intervals used with parallel motion, highlighted in blue, are sixths and thirds (imperfect consonances)<\/li>\n<li>Similar motion, highlighted in red, is used the least in this example<\/li>\n<\/ul>\n<p>Example 21-7 also features links to black-and-white renderings of each type of motion.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20116. Analysis of harmonic interval content in B\u00e9la Bart\u00f3k, <em>44 Duos for Two Violins<\/em>, no. 14 \u201cP\u00e1rnas T\u00e1nc\u201d (\u201cCushion Dance\u201d), mm. 1\u201314<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-1024x420.png\" alt=\"image of annotated score\" width=\"1024\" height=\"420\" class=\"alignnone size-large wp-image-2492\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-1024x420.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-300x123.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-768x315.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-1536x630.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-2048x840.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-65x27.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-225x92.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok-parnak-tanc-pt1-annotated-rev-350x144.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p style=\"text-align: center\"><strong>\u2018XIV. Pa\u0301rnas Ta\u0301nc\u2019 (\u2018Cushion Dance\u2019) from <\/strong><span><strong><em>44 Duos for Two Violins<\/em><\/strong><br \/>\n<\/span><span><\/span><span>Composed by Bela Bartok<br \/>\n\u00a9 1933 Boosey &amp; Hawkes<br \/>\nReproduced by permission of Boosey &amp; Hawkes<\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.6-bartok.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by violinists Wanda Wilkomirska and Mih\u00e1ly Sz\u0171cs, on <a href=\"https:\/\/open.spotify.com\/track\/30H4fp4iaBcjbHLUAKQRsN?si=75cc9fc66c5e4961\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Hungarian composer <strong>B\u00e9la Bart\u00f3k <\/strong>(1881\u20131945) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40686\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Malcolm Gillies.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20117. Types of motion in B\u00e9la Bart\u00f3k, <em>44 Duos for Two Violins<\/em>, no. 14 \u201cP\u00e1rnas T\u00e1nc\u201d (\u201cCushion Dance\u201d), mm. 1\u201314<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-1024x426.png\" alt=\"image of annotated score\" width=\"1024\" height=\"426\" class=\"alignnone size-large wp-image-2498\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-1024x426.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-300x125.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-768x319.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-1536x638.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-2048x851.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-65x27.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-225x94.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7-bartok-motion-350x145.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p style=\"text-align: center\"><strong>\u2018XIV. Pa\u0301rnas Ta\u0301nc\u2019 (\u2018Cushion Dance\u2019) from <\/strong><span><strong><em>44 Duos for Two Violins<\/em><\/strong><br \/>\n<\/span><span><\/span><span>Composed by Bela Bartok<br \/>\n\u00a9 1933 Boosey &amp; Hawkes<br \/>\nReproduced by permission of Boosey &amp; Hawkes<\/span><\/p>\n<p>Access black-and-white image showing oblique motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7b-oblique-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7b oblique motion<\/a><\/p>\n<p>Access black-and-white image showing contrary motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7c-contrary-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7c contrary motion<\/a><\/p>\n<p>Access black-and-white image showing parallel motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7d-parallel-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7d parallel motion<\/a><\/p>\n<p>Access black-and-white image showing similar motion: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.7e-similar-motion.pdf\" target=\"_blank\" rel=\"noopener\">Ex 21.7e similar motion<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1xa8o4x7v8JXHp43c4sa73GsvZViXD9o9qVI7FXolNI4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Slideshow for two-part counterpoint<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this chapter here: <a href=\"https:\/\/open.spotify.com\/playlist\/0k7TgyzNeYJXqp3YsvdCxE?si=3c23ffdf1c2742cd\" target=\"_blank\" rel=\"noopener\">Spotify playlist for two-part counterpoint<\/a><\/div>\n<h1><a><\/a>EXERCISE 21-1 Counterpoint analysis<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 21-1 Counterpoint analysis<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Study and listen to each of the following excerpts, and then answer the questions and complete the tasks that follow.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 21-1. Simplified transcription of Phoebe Bridgers, \u201cFuneral,\u201d 0:36\u20130:48<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-scaled.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-1024x201.png\" alt=\"image of musical score\" width=\"1024\" height=\"201\" class=\"alignnone wp-image-7206 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-1024x201.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-300x59.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-768x151.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-1536x301.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-2048x402.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-225x44.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-rev-350x69.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-bridgers-funeral.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-bridgers-funeral.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.1-bridgers-funeral.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2Tbym0L4Xlox9nol0YzPct?si=d4833cec33544cb8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter\u00a0<strong>Phoebe Bridgers\u00a0<\/strong>(b. 1994) by reading her <a href=\"https:\/\/www.last.fm\/music\/Phoebe+Bridgers\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on lastfm.com.<\/p>\n<\/div>\n<\/div>\n<p>Questions for Worksheet example 21-1:<\/p>\n<ol>\n<li>Study the interval content between the bass line (bottom staff) and the vocal line (top staff). In between the staves, write the numbers representing each harmonic interval.<\/li>\n<li>Identify the interval labels that are dissonant and circle them. For each dissonant interval, consider the following questions:<br \/>\na) Does the primary note involved in the dissonance resolve by step?<br \/>\nb) Does the dissonance resolve to a consonant interval?<\/li>\n<li>Consider harmony. Based on the lead sheet symbols above the staff and thinking in the key of B major, provide Roman numerals beneath the staff to show chord function. For any inverted chords, please also use figured bass to show the inversion.<\/li>\n<li>What type of cadence occurs at the end of this excerpt?<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 21-2. Etienne Ozi, <em>Six duos pour deux bassons<\/em>, Duo 5, Rondo: Allegretto, mm. 1\u201316<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-1024x674.png\" alt=\"image of score\" width=\"1024\" height=\"674\" class=\"alignnone size-large wp-image-5793\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-1024x674.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-300x197.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-768x506.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-1536x1011.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-2048x1348.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-65x43.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-225x148.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-rev-350x230.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-ozi-duo.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-ozi-duo.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-21.2-ozi-duo.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by bassoonists Dillon Meacham and Patrick Broder, on <a href=\"https:\/\/youtu.be\/qkN-M-eNZuU?si=aETS09XBp6GalgMn\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\n<p>Learn about French bassoonist and composer <strong>Etienne Ozi<\/strong> (1754\u20131813) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.20627\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Harold E. Griswold.<\/p>\n<\/div>\n<\/div>\n<p>Questions for Worksheet example 21-2:<\/p>\n<ol>\n<li>What key is this excerpt in?<\/li>\n<li>Study the interval content between the parts. In general, which type of interval\u2014perfect consonances, imperfect consonances, or dissonances\u2014is used most?<\/li>\n<li>Study the motion between parts. In general, which type of motion\u2014contrary, oblique, similar, or parallel\u2014is used more than any other?<\/li>\n<li>Compare mm. 1\u20138 to mm. 9\u201316. How are these two subsections related?<\/li>\n<li>Consider implied harmony. <span>If we hear cadences every four bars, what type of cadence<\/span> is implied at the beginning of m. 4? In mm. 7\u20138? In m. 12? In mm. 15\u201316?<\/li>\n<\/ol>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex21.1-Counterpoint-analysis-rev2.pdf\" target=\"_blank\" rel=\"noopener\">Ex21.1 Counterpoint analysis<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0k7TgyzNeYJXqp3YsvdCxE?si=3c23ffdf1c2742cd\" target=\"_blank\" rel=\"noopener\">Spotify playlist for two-part counterpoint<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Writing two-part counterpoint<\/h1>\n<p>From this sample of excerpts we have studied, we can draw some general principles to guide our own writing of music in two parts. While these are not immutable rules, best practices include:<\/p>\n<ol>\n<li style=\"font-weight: 400\">Use mostly stepwise motion<\/li>\n<li style=\"font-weight: 400\">Leaps should generally outline chord tones<\/li>\n<li style=\"font-weight: 400\">Strive for rhythmically independent lines\u2014when one line is active, consider using less activity in the other part<\/li>\n<li style=\"font-weight: 400\">Successive dissonances are rare (don\u2019t do it)<\/li>\n<li style=\"font-weight: 400\">Prepare and resolve dissonances by step to a consonant interval<\/li>\n<li style=\"font-weight: 400\">Prefer contrary and oblique motion<\/li>\n<li style=\"font-weight: 400\">Use parallel motion only with successive thirds and sixths<\/li>\n<\/ol>\n<p>As in the Bart\u00f3k example, when contrary and oblique motion are used with stepwise motion in one or both parts, and there are no successive dissonant intervals, you can\u2019t go wrong!<\/p>\n<p>Example 21-8 shows three different solutions for writing a contrapuntal line against a pre-existing melody. The first passage, labeled &#8220;given passage,&#8221; presents the pre-existing melody. After listening to and studying it, we identify the key as C major and likely understand its harmonic implication as I &#8211; IV &#8211; V &#8211; I, with a harmonic rhythm of one chord per bar. <span>Each of the next three passages presents one possible solution in the upper staff with a different rhythmic relationship to the given line, moving more quickly (Solution 1), more slowly (Solution 2), and at the same rate of motion (Solution 3).<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 21\u20118. Model with three solutions for writing two-part counterpoint<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Given passage:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-1024x197.png\" alt=\"image of score with melody in bass clef: C E F A G G C\" width=\"1024\" height=\"197\" class=\"alignnone wp-image-2530 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-1024x197.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-300x58.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-768x147.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-1536x295.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-2048x393.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-225x43.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-model-350x67.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Solution 1:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-1024x198.png\" alt=\"image of score\" width=\"1024\" height=\"198\" class=\"alignnone size-large wp-image-2531\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-1024x198.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-300x58.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-768x148.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-1536x297.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-2048x396.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-225x43.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-a-350x68.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Solution 2:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-1024x196.png\" alt=\"image of score\" width=\"1024\" height=\"196\" class=\"alignnone size-large wp-image-2532\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-1024x196.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-300x57.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-768x147.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-1536x293.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-2048x391.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-225x43.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-b-350x67.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Solution 3:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-1024x202.png\" alt=\"image of score\" width=\"1024\" height=\"202\" class=\"alignnone size-large wp-image-2533\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-1024x202.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-300x59.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-768x152.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-1536x303.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-2048x405.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-225x44.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex28.8-solution-c-350x69.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-599-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-Counterpoint-solutions.m4a?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-Counterpoint-solutions.m4a\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-Counterpoint-solutions.m4a<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 21-2 Writing two-part counterpoint<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 21-2 Writing two-part counterpoint<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>For each passage, study the melody already written for you and identify the key. Then, on the blank staff provided, write a melody against this part to create counterpoint. Do not change the given melody. Pro tip: When one part is more rhythmically active, it often works well to write a less rhythmically active part in counterpoint to it. Be sure to follow the counterpoint principles we\u2019ve studied:<\/p>\n<ul>\n<li>Start and end on a consonant interval<\/li>\n<li>Use more stepwise motion than leaps<\/li>\n<li>Restrict leaps to outlining chord tones (all notes approached by leap should be consonant with the other part)<\/li>\n<li>Prefer contrary and oblique motion, unless using successive imperfect consonances (thirds and sixths) in parallel motion<\/li>\n<li>Prepare and resolve all dissonances by step to a consonant interval<\/li>\n<\/ul>\n<p>Also, follow these principles, which relate to tonal aspects of melody construction:<\/p>\n<ul>\n<li>When in a minor key, raise the leading tone (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, as in harmonic or ascending melodic minor)<\/li>\n<li>Do not double the leading tone (it\u2019s too unstable to have sounding at the same time in both parts)<\/li>\n<li>Have at least one part end on the tonic scale degree<\/li>\n<\/ul>\n<p>Passage 1:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-1024x194.png\" alt=\"image of score with melody in bass clef: G - C - D - B\" width=\"1024\" height=\"194\" class=\"alignnone wp-image-2537 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-1024x194.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-300x57.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-768x146.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-1536x291.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-2048x388.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-225x43.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex1-GM-350x66.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Passage 2:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-1024x201.png\" alt=\"image of score with melody in bass clef: A B C-sharp D E F-sharp E G-sharp A\" width=\"1024\" height=\"201\" class=\"alignnone size-large wp-image-2538\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-1024x201.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-300x59.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-768x151.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-1536x302.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-2048x403.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-225x44.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex2-AM-350x69.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Passage 3:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-1024x201.png\" alt=\"image of score with melody in treble clef: F E-natural F D-flat C B-flat A-flat\" width=\"1024\" height=\"201\" class=\"alignnone size-large wp-image-2539\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-1024x201.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-300x59.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-768x150.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-1536x301.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-2048x401.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-225x44.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex3-fm-350x69.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Passage 4:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-1024x197.png\" alt=\"image of score with melody in B minor\" width=\"1024\" height=\"197\" class=\"alignnone size-large wp-image-2540\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-1024x197.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-300x58.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-768x148.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-1536x295.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-2048x394.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-65x13.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-225x43.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex4-Bm-350x67.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Passage 5:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-1024x195.png\" alt=\"image of score with melody in bass clef: D C-sharp D G A A D\" width=\"1024\" height=\"195\" class=\"alignnone size-large wp-image-2541\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-1024x195.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-300x57.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-768x146.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-1536x292.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-2048x390.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-225x43.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex5-Dm-350x67.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex21.2-Writing-two-part-counterpoint.pdf\" target=\"_blank\" rel=\"noopener\">Ex21.2 Writing two-part counterpoint<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 21<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/\" target=\"_blank\" rel=\"noopener\">Kris Shaffer and Mark Gotham&#8217;s chapter on species counterpoint<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/12-basic-two-voice-interval-progressions\/\" target=\"_blank\" rel=\"noopener\"><span class=\"instancename\" id=\"yui_3_17_2_1_1696362721503_53\">Andre Mount&#8217;s chapter on two-voice writing<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-599-1\">Leo Kraft, <em>Gradus<\/em> (New York: W.W. Norton, 1976), 29. <a href=\"#return-footnote-599-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-599-2\">Adaptation of transcription by Kevin Holm-Hudson, <em>Music Theory Remixed : A Blended Approach for the Practicing Musician<\/em> (New York: Oxford University Press, 2017), 141. Adapted with the permission of the author, annotations mine. <a href=\"#return-footnote-599-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-599-3\">This is the same clef symbol used in choral music today for most tenor parts. <a href=\"#return-footnote-599-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-599-4\"><span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/a\/a1\/IMSLP277497-PMLP424538-01-duet---0-score.pdf\" target=\"_blank\" rel=\"noopener\">\"Bicinium No.1 (Gastoldi, Giovanni Giacomo)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Garvin,_Allen\" target=\"_blank\" rel=\"noopener\">Allen Garvin<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 3.0<\/a><a><\/a><\/span> Annotations are mine. <a href=\"#return-footnote-599-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_599_2436\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2436\"><div tabindex=\"-1\"><p>any process in which two or more melodies sound at the same time, usually according to a system of rules specific to a particular tonal style<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2439\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2439\"><div tabindex=\"-1\"><p>tonal stability, agreement, and\/or that which brings tonal resolution<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2440\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2440\"><div tabindex=\"-1\"><p>tonal instability, disagreement, and\/or that which brings tonal tension<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2453\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2453\"><div tabindex=\"-1\"><p>the four ways in which two melodic lines may interact with one another: (1) parallel, (2) similar, (3) contrary, or (4) oblique<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2441\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2441\"><div tabindex=\"-1\"><p>two notes played simultaneously (in contrast to melodic intervals, which are played successively)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2442\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2442\"><div tabindex=\"-1\"><p>intervals that are considered stable, or those that function as \u201cagreement,\u201d bringing tonal resolution; consonant intervals are P1, P5, P8, mi3, MA3, mi6, and MA6<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2443\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2443\"><div tabindex=\"-1\"><p>the intervals P1, P5, and P8, as well as their compound interval equivalents<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2444\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2444\"><div tabindex=\"-1\"><p>intervals including mi3, MA3, mi6, and MA6<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2447\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2447\"><div tabindex=\"-1\"><p>intervals considered to be unstable, or those that function as \u201cdisagreement,\u201d bringing tension, impelling the music forward to a more stable point; dissonant intervals include the P4, mi2, MA2, mi7, MA7, and tritone<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2446\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2446\"><div tabindex=\"-1\"><p>term referring to the dissonant interval, the A4, and its enharmonic equivalent, d5<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2457\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2457\"><div tabindex=\"-1\"><p>motion resulting from two parts moving in the same direction (both up or both down) by the same \u201camount\u201d such that the starting and ending intervals are of the same number\/size (e.g., parallel thirds)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_872\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_872\"><div tabindex=\"-1\"><p>for intervals, the number of steps between two notes, including the starting and ending note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2456\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2456\"><div tabindex=\"-1\"><p>motion resulting from two parts moving in the same direction (both up or both down)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2458\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2458\"><div tabindex=\"-1\"><p>motion in which one part moves, while the other stays on the same pitch<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2455\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2455\"><div tabindex=\"-1\"><p>motion resulting from two parts moving in opposite directions (one up, the other down)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_1802\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_1802\"><div tabindex=\"-1\"><p>compositional process using short musical subjects, alternating sections using strict imitation and episodic sections in free counterpoint<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_599_2485\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_599_2485\"><div tabindex=\"-1\"><p>notes belonging in a chord; e.g., the chord tones in a major triad are C, E, and G<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":21,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-599","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/599","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":99,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/599\/revisions"}],"predecessor-version":[{"id":7210,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/599\/revisions\/7210"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/599\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=599"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=599"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=599"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=599"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}