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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. [17]
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.
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 ...
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).
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The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
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.)
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 ...