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"The counterpoint in bars 5-8... sheds an unexpected light on the tonality of the Subject." [11]: Bach fugue in G-sharp minor from WTC Book 2 Bach fugue in G-sharp minor from WTC Book 2. Bach's 3-part Invention in F minor combines three independent melodies: Bach 3-part Invention BWV 795, bars 7–9 Bach 3-part Invention BWV 795, bars 7–9
Counterpoint (Kontrapunkt in the original German) is the second volume of Heinrich Schenker's New Musical Theories and Fantasies (the first is Harmony and the third is Free Composition). 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.
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.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
The most elementary linear progressions are determined by the tonal space that they elaborate: they span from the prime to the third, from the third to the fifth or from the fifth to the octave of the triad, in ascending or descending direction. Schenker writes: "there are no other tonal spaces than those of 1–3, 3–5, and 5–8.
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.)
The Art of Counterpoint, and its Application as a Decorative Principle (London, 1907) The Evolution of Harmony (London, 1914) Applied Strict Counterpoint (London, 1916) Elementary Harmony, three volumes (London, 1920–26) Additional Exercises to Elementary Harmony (1926) Rudiments of Music (London, 1926) Counterpoint for Beginners (London, 1927)
There are two consonant inverted cambiatas in third species: One above the C.F., with 5-6-8-7; and one below, with 6-5-3-4. In fifth species, cambiatas need not be quarter-note lines added to whole-note cantus firmi as in these examples, which is only a requirement of the third species, but could take many different rhythmic forms.
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