11. From Species to Chorale Style:Soprano and BassLines Note-to-note counterpoint in chora le style -The bass most often carries the harmonic progression while the soprano most often carries the melody. Contrapuntal motion -Homorhythmic texture: when each bass note corresponds to a single soprano note in the same rhythm. Literally means “same rhythm” in all parts. -Phrase: A unit of musical thought that ends with a point of closure or repose. -Cadence: The combination of melodic, harmonic, and rhythmic elements that create a sense of closure at the end of a phrase. Chordal dissonance -In the dominant 7th harmony, the chordal seventh (4) and the leading tone (7) are tendency tones.Always resolve the chordal 7th down (4 to 3) and the leading tone up (7 to 1) Characteristics of bass and melody lines -Bass -Conclusive: sol-do (5-1), usually approached by do, re, fa, la/le (1, 2, 4, 6, b6 in minor) -Less conclusive, used mid-phrase or as a close in some styles: ti-do (7-1), usually approached by do, la, or sol (1, 6, 5) -Inconclusive: ending with sol (5), usually approached by do, fa, la/le (1, 4, 6, b6 in minor) -Soprano -Conclusive: ending on do (1), mi/me-re-do (3/b3-2-1), re-ti-do (2-7-1), la-ti-do (6-7-1), re-re-do (2-2-1) -Less conclusive: ending on mi/me (3/b3), sol-fa-mi/me (5-4-3/b3), re-mi/me (2-3/b3) -Inconclusive: ending on sol, re, or ti (5, 2, 7), la/le-sol (6/b6-5), fa-mi/me-re (4-3/b3-2), re-do-ti (2-1-7) -Opening: “Do and do” (1 and 1) and “do and mi” (1 and 3) are thestrongestcombinations. Ambiguouscombination if it doesn’t include the 3rd of the tonic chord (mi/me) (like just “sol and sol” (5 and 5), also “mi, sol” (3, 5)) -Anacrusis: will often be a V(7)-I, can also start in a I-I motion(I6 - I w voice exchange is good) Writing counterpoint with a given line -When there are several steps in a row, plan to include a skip or leap in your line; where there are skips or leaps, write steps in your line. -Think about the contour of the given line, and how you want the contour of your melody to balance it. Choose a possible high point, with an interval that is consonant w the given line’s note.
-Opens with either an implied T harmony or a V-I anacrusis -Resolves tendency tones “fa” and “ti” (from V7) correctly -Avoids parallel octaves and fifths (by approaching perfect consonances with contrary motion, similar motion w a stepwise upper line, or oblique motion) -Good strategy: voice exchange (3 chords, 1 and 3 exchange bass and soprano voices→< or > ) Melodic embellishment in chorale textures -Passing tones→ -Neighbor tones→ -Chordal/consonant skips→ -Suspensions: resolved downward bystep. Designated by intervals above the bass;the most common are ti-la (7-6), fa-mi/me (4-3/b3), re-do (9-8) Incorporate chordalskips, dissonant passing tones and neighbor tones on the offbeats, and occasionally passing and neighbor tones on the beat.
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