Search results
Results from the WOW.Com Content Network
In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G ♯ while the bass sings G ♮ momentarily beneath it, producing the clash of an augmented unison. Ex. 2, typical example of a false relation in the Late Baroque Style. Play ⓘ
Example of fauxbourdon. This is a portion of Ave Maris Stella, a Marian Antiphon, in a setting by Guillaume Du Fay, transcribed into modern notation. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original, follows the contours of the top line while always remaining exactly a perfect fourth below.
In counterpoint, the functional independence of voices is the prime concern. The violation of this principle leads to special effects, which are avoided in counterpoint. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading.
Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common. Descant can also refer to the highest pitched of a group of instruments, particularly the descant viol or recorder. Similarly, it can also be applied to the soprano clef.
He wrote the first dictionary of musical terms (the Diffinitorium musices); a book on the characteristics of the musical modes; a treatise on proportions; and three books on counterpoint, which is particularly useful in charting the development of voice-leading and harmony in the transitional period between Du Fay and Josquin. The writings by ...
Musica ficta (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo.
However, Renaissance musicians would have been highly trained in dyadic counterpoint and thus possessed this and other information necessary to read a score correctly, even if the accidentals were not written in. As such, "what modern notation requires [accidentals] would then have been perfectly apparent without notation to a singer versed in ...
The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the ...