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In fifth species counterpoint, sometimes called florid counterpoint, the other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, the fourth and fifth bars are third and embellished fourth species, and the final bar is first species.
It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint . Book I is concerned with the construction of the cantus firmus and the rules of counterpoint in two voices, also referred to as "strict counterpoint"; Book II treats the cases of three- and four-voice ...
4th chapter of ITT is devoted to species counterpoint, an old western tradition of composing music consisting of simple lines with uniform rhythm. Westergaard presented formal grammars to construct/parse species lines. According to him, there are three types of lines: primary line, generic line, and the bass line.
In species counterpoint, as given in Fux, the student is to master writing counterpoint in each species before moving on to the next. The species are, in order, note against note; two notes against one; four notes against one; ligature or suspensions (one note against one, but offset by half of the note value); and florid counterpoint, in which ...
The latest iOS 18.2 with new Apple Intelligence features may have underwhelmed thus far (Genmoji and Image Playgrounds alongside ChatGPT are fine additions, but nothing jaw-dropping), but it's ...
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted deep structure, the Ursatz.
Background (German: Hintergrund)The structural level of the fundamental structure.See also Middelground and Foreground.. Bass arpeggiation (German: Bassbrechung). Bass pattern I-V-I forming the harmonic content of the background of tonal musical pieces; the concept belongs to the final version of Schenkerian theory, from 1930 onwards.
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