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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, 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.)
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.).
In music theory, an inversion is a rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. [2] In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory.
The second part, on Musica Pratica, is the section of this treatise where the author presents his instruction on counterpoint, fugue, double counterpoint, a brief essay on musical taste, and his ideas on composing sacred music, writing in the a cappella and in the recitativo style. This part is in the form of a dialog, between a master ...
I must finish [writing this letter] now, because I've got to write at breakneck speed—everything's composed—but not written yet. In Konrad's view, Mozart had completed the "draft score" of the work, but still needed to produce the completed, final version. Of the sketches that survive, none are for solo keyboard works.
The resulting multi-voice counterpoint in Soprano, Alto, Tenor and Bass clefs were called a realization (réalisation). A student would begin by playing basic material as a 10- or 11 year-old but would eventually mature to write complicated four-voice counterpoint full of distant modulations and chromatic embellishments. [13]
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.
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