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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).
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.
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. [17]
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]
A distinguishing feature of the fourth ballade is its contrapuntal nature. Counterpoint is found only sporadically in the first and second ballade. The fourth ballade is musically more subtle than the other three, as most of its portions remain melancholic and profound.
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).
Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, [clarification needed] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in ...
Voice leading developed as an independent concept when Heinrich Schenker stressed its importance in "free counterpoint", as opposed to strict counterpoint. He wrote: All musical technique is derived from two basic ingredients: voice leading and the progression of scale degrees [i.e. of harmonic roots]. Of the two, voice leading is the earlier ...