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Species counterpoint generally offers less freedom to the composer than other types of counterpoint and therefore is called a "strict" counterpoint. The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the given rules at the time ...
In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
Many classical pieces feature different kinds of texture within a short space of time. An example is the Scherzo from Schubert’s piano sonata in B major, D575. The first four bars are monophonic, with both hands performing the same melody an octave apart: Schubert Sonata in B scherzo bars 1–4 Schubert Piano Sonata in B major scherzo bars 1–4
The Dorze people, for example, sing with as many as six parts, and the Wagogo use counterpoint. [36] The music of African Pygmies (e.g. that of the Aka people) is typically ostinato and contrapuntal, featuring yodeling. Other Central African peoples tend to sing with parallel lines rather than counterpoint. [37]
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
In music, an invention is a short composition (usually for a keyboard instrument) in two-part counterpoint. (Compositions in the same style as an invention but using three-part counterpoint are known as sinfonias. Some modern publishers call them "three-part inventions" to avoid confusion with symphonies.)
For example, if two voices sound G and B, and move up to C and E. The overlapping occurs because the second note (C) in the lower voice is higher than the first note (B) in the upper voice. It leads to ambiguity, as the ear interprets the step from B to C in one voice, and is fairly consistently avoided in contrapuntal writing. [20]
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