Episode 20 reviews the rules of Soprano-Bass Counterpoint. Starting with form and voice movement.
Episode 20 reviews the rules of Soprano-Bass Counterpoint. Starting with form (1:32) and voice movement (1:58). From there we will discuss non-negotiables (2:20), mistakes to avoid (2:40) and common trends (4:15). Then there are few rules specific to upper voices (4:50) and the bass line (5:19).
Question of the day: Due to the slow spread of Western music to North America in the mid 1700s, what musical aspect of Soprano-Bass Counterpoint does early American composer William Billings famously embrace? (6:36)
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Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap Soprano-Bass Counterpoint
Lets Zoom out:
We’re in Unit 4 - Harmony and Voice
Leading I: Chord Function, Cadence, and Phrase
Topics 4.1
Our Big ideas are pitch, rhythm and form.
We’re going to parle about some of the music code of the 18th century- which definitely became more like guidelines later on. In the 20th century, some genres really started to push the limits, like jazz (why can’t they just play the right notes)!
Lets Zoom in:
The rules you’ll be expected to follow are the same as those needed for the AP exam. Each of these come from Soprano-Bass counterpoint. This is the earliest form of voice leading, or how individual melodic lines interact with each other and how they move on their own. Getting from point A to point B, but making sure to avoid the potholes. It should be noted that in modern music some composers purposefully hit these bumps to be rebels and show how the music can be aesthetically pleasing while breaking the rules. My loyal sheeps, you have to learn to work within these boundaries before improvising.
Soprano-Bass counterpoint is one of our first introductions to analyzing the form of music. Through analyzing each voice part, you also have to consider how each phrase is formed, how long the phrase is, what cadence it is concluded with, how the part functions on its own and in context with the other parts. When composing your own examples, you will find that one simple decision has a ripple effect on the remaining voice parts vertically and horizontally.
Be aware of the four types of voice movement: parallel (pitches that move in the same direction with the same intervals), contrary (pitches that move in opposite directions), oblique (one pitch stays put while other moves), and similar (pitches that move in the same direction but not with the same intervals). Too much of one leads to boring music, so composers spice it up.
Here are some non-negotiables:
All leading tones must be resolved. Any dissonances should have a good reason for being there, whether they be a passing tone or serving a bigger harmonic purpose. If you decide to make an accidental, assuming it logically fits, it should not be directly preceded in another voice part.
Danger! Warning! Here is what you need to avoid at all costs:
Consider parallel fifths, big leaps, and voice crossing to be mustard frosted cookies- they might look good but actually be really awful in experience. Additionally, augmented, diminished and tritone melodic intervals are musical taboo.
Any perfect fifths, octaves or unison pitches that are not immediately repeated should avoid making movement into the same interval with different pitches. Parallel fifths and octaves can sound jarring.
Here are some common trends you will see from simply following the rules:
Soprano-bass line counterpoint harmonic progressions tend to revolve around tonic, supertonic, subdominant and dominant triads. Common tones tend to stay put between chords, like a lazy cat probably won’t leave it’s spot while you go grocery shopping because it really doesn’t have a reason to move. I’m not speaking from experience at all…
Listen for the example of a common tone between a tonic chord and subdominant. (Example 2)
Now that we have reviewed non-negotiables, mistakes to avoid and comment trends, let’s move to more specifics on the voice parts.
For now, upper voices demonstrating melodic jumps beyond a fifth is a no-go. However, very soon leaps of a sixth would be recognized as a singer’s sweet spot. Thank you, Handel.
Bass lines are a different story, they can jump up to an octave, and if they do make that leap it must change direction afterwards. If the bass line makes leaps in the same direction, it should outline a triad. Repeated bass notes should have started on a strong beat, unless it is a suspension. Since the bass line provides structure for the remaining voice parts, their harmonic rhythm will stay relatively uncomplicated, sticking with mostly quarter notes.
So you’ve been studying Soprano-Bass Counterpoint, through analyzing with Roman and arbaic numerals, or by composing it yourself. You may be asking yourself, what’s next? A general rule of thumb to follow when checking your work, is to imagine yourself performing each part. If you find a part awkward, difficult, full of excessive leaps or constantly crossing over other parts, then revise the voice leading you’ve written.
Congratulations, now you can woo your crush by realizing figured bass and analyzing Soprano-Bass Counterpoint.
To recap……
There are four types of voice movement: parallel, contrary, oblique, and similar. Avoid voice crossing, excessive leaps, parallel fifths, augmented or diminished intervals, and unresolved leading tones.
Coming up next on the Apsolute RecAP Music Theory Edition: Voice leading
Today’s Question of the day is about William Billings.
Question: Due to the slow spread of Western music to North America in the mid 1700s, what musical aspect of Soprano-Bass Counterpoint does early American composer William Billings famously embrace? Listen here for an example.