FOOTNOTES:[84]Strict or plain counterpoint is divided into several species: (1) note against note, there being one note in the accompanying melody or melodies to one note of the cantus firmus; (2) two notes against one; (3) three, four, or more notes against one; (4) syncopated; (5) florid or figured, in which the added parts are free. Counterpoint is single, or simple, when the added part is uniformly above or below the cantus;doublewhen the added part is so constructed as to be usable either above or below the cantus by a uniform transposition of an octave, a tenth, or some other interval; andtriple, orquadruple, when three or four melodies are so fitted as to be mutually interchangeable with one another by transposition.[85]Imitation isstrictwhen the succession of intervals is identical in both antecedent and consequent;freewhen some modification of the one appears in the other. Imitation is calledaugmentedwhen the rhythmic value of the several tones is systematically increased, as, for example, when quarter-notes are represented by half-notes;diminishedwhen the rhythmic value of the several notes is lessened;inverted(or imitation in contrary motion) when every upward interval in the antecedent is represented in the answer by an equivalent downward interval, or vice versa;retrograde(or reversed imitation) when the intervals of the antecedent are taken in the reverse order in the consequent. Acanonis a composition in which imitation is carried out at some length. Imitation is also the basis of thefugue.[86]It is in Walter Odington’s treatise that the first mention of duple metre is made.[87]Similar intervals occurring between two voices that pass from one chord to another in parallel motion.[88]A sequence of chords at the end of a phrase or period, involving, in modern music, a clear enunciation of the tonality or key in which the piece is written. Full, perfect, complete or authentic cadence is the dominant harmony in root position followed by that of the tonic in root position. This kind of cadence is comparable to a period. A half cadence is a less definite closing, used for phrases not final.[89]W. S. Rockstro, in Grove’s Dictionary, III, 259.[90]Quoted from an extant letter of Philip of Luxembourg to the Chapter at Cambrai.[91]‘Dufay and His Contemporaries.’[92]Grove: ‘Dict. of Music and Musicians.’[93]‘Early English Harmony’; Vol. I edited by H. E. Wooldridge, 1897; Vol. II edited by Rev. H. V. Hughes, 1913.[94]See Chapter X.[95]The form Ockenheim was introduced by Glarean, apparently without sufficient reason. It is supposed that Okeghem was born about 1430.[96]‘Life of Palestrina,’ Rome, 1828.[97]Hullah: ‘Lectures on the History of Modern Music,’ p. 53.
FOOTNOTES:
[84]Strict or plain counterpoint is divided into several species: (1) note against note, there being one note in the accompanying melody or melodies to one note of the cantus firmus; (2) two notes against one; (3) three, four, or more notes against one; (4) syncopated; (5) florid or figured, in which the added parts are free. Counterpoint is single, or simple, when the added part is uniformly above or below the cantus;doublewhen the added part is so constructed as to be usable either above or below the cantus by a uniform transposition of an octave, a tenth, or some other interval; andtriple, orquadruple, when three or four melodies are so fitted as to be mutually interchangeable with one another by transposition.[85]Imitation isstrictwhen the succession of intervals is identical in both antecedent and consequent;freewhen some modification of the one appears in the other. Imitation is calledaugmentedwhen the rhythmic value of the several tones is systematically increased, as, for example, when quarter-notes are represented by half-notes;diminishedwhen the rhythmic value of the several notes is lessened;inverted(or imitation in contrary motion) when every upward interval in the antecedent is represented in the answer by an equivalent downward interval, or vice versa;retrograde(or reversed imitation) when the intervals of the antecedent are taken in the reverse order in the consequent. Acanonis a composition in which imitation is carried out at some length. Imitation is also the basis of thefugue.[86]It is in Walter Odington’s treatise that the first mention of duple metre is made.[87]Similar intervals occurring between two voices that pass from one chord to another in parallel motion.[88]A sequence of chords at the end of a phrase or period, involving, in modern music, a clear enunciation of the tonality or key in which the piece is written. Full, perfect, complete or authentic cadence is the dominant harmony in root position followed by that of the tonic in root position. This kind of cadence is comparable to a period. A half cadence is a less definite closing, used for phrases not final.[89]W. S. Rockstro, in Grove’s Dictionary, III, 259.[90]Quoted from an extant letter of Philip of Luxembourg to the Chapter at Cambrai.[91]‘Dufay and His Contemporaries.’[92]Grove: ‘Dict. of Music and Musicians.’[93]‘Early English Harmony’; Vol. I edited by H. E. Wooldridge, 1897; Vol. II edited by Rev. H. V. Hughes, 1913.[94]See Chapter X.[95]The form Ockenheim was introduced by Glarean, apparently without sufficient reason. It is supposed that Okeghem was born about 1430.[96]‘Life of Palestrina,’ Rome, 1828.[97]Hullah: ‘Lectures on the History of Modern Music,’ p. 53.
[84]Strict or plain counterpoint is divided into several species: (1) note against note, there being one note in the accompanying melody or melodies to one note of the cantus firmus; (2) two notes against one; (3) three, four, or more notes against one; (4) syncopated; (5) florid or figured, in which the added parts are free. Counterpoint is single, or simple, when the added part is uniformly above or below the cantus;doublewhen the added part is so constructed as to be usable either above or below the cantus by a uniform transposition of an octave, a tenth, or some other interval; andtriple, orquadruple, when three or four melodies are so fitted as to be mutually interchangeable with one another by transposition.
[84]Strict or plain counterpoint is divided into several species: (1) note against note, there being one note in the accompanying melody or melodies to one note of the cantus firmus; (2) two notes against one; (3) three, four, or more notes against one; (4) syncopated; (5) florid or figured, in which the added parts are free. Counterpoint is single, or simple, when the added part is uniformly above or below the cantus;doublewhen the added part is so constructed as to be usable either above or below the cantus by a uniform transposition of an octave, a tenth, or some other interval; andtriple, orquadruple, when three or four melodies are so fitted as to be mutually interchangeable with one another by transposition.
[85]Imitation isstrictwhen the succession of intervals is identical in both antecedent and consequent;freewhen some modification of the one appears in the other. Imitation is calledaugmentedwhen the rhythmic value of the several tones is systematically increased, as, for example, when quarter-notes are represented by half-notes;diminishedwhen the rhythmic value of the several notes is lessened;inverted(or imitation in contrary motion) when every upward interval in the antecedent is represented in the answer by an equivalent downward interval, or vice versa;retrograde(or reversed imitation) when the intervals of the antecedent are taken in the reverse order in the consequent. Acanonis a composition in which imitation is carried out at some length. Imitation is also the basis of thefugue.
[85]Imitation isstrictwhen the succession of intervals is identical in both antecedent and consequent;freewhen some modification of the one appears in the other. Imitation is calledaugmentedwhen the rhythmic value of the several tones is systematically increased, as, for example, when quarter-notes are represented by half-notes;diminishedwhen the rhythmic value of the several notes is lessened;inverted(or imitation in contrary motion) when every upward interval in the antecedent is represented in the answer by an equivalent downward interval, or vice versa;retrograde(or reversed imitation) when the intervals of the antecedent are taken in the reverse order in the consequent. Acanonis a composition in which imitation is carried out at some length. Imitation is also the basis of thefugue.
[86]It is in Walter Odington’s treatise that the first mention of duple metre is made.
[86]It is in Walter Odington’s treatise that the first mention of duple metre is made.
[87]Similar intervals occurring between two voices that pass from one chord to another in parallel motion.
[87]Similar intervals occurring between two voices that pass from one chord to another in parallel motion.
[88]A sequence of chords at the end of a phrase or period, involving, in modern music, a clear enunciation of the tonality or key in which the piece is written. Full, perfect, complete or authentic cadence is the dominant harmony in root position followed by that of the tonic in root position. This kind of cadence is comparable to a period. A half cadence is a less definite closing, used for phrases not final.
[88]A sequence of chords at the end of a phrase or period, involving, in modern music, a clear enunciation of the tonality or key in which the piece is written. Full, perfect, complete or authentic cadence is the dominant harmony in root position followed by that of the tonic in root position. This kind of cadence is comparable to a period. A half cadence is a less definite closing, used for phrases not final.
[89]W. S. Rockstro, in Grove’s Dictionary, III, 259.
[89]W. S. Rockstro, in Grove’s Dictionary, III, 259.
[90]Quoted from an extant letter of Philip of Luxembourg to the Chapter at Cambrai.
[90]Quoted from an extant letter of Philip of Luxembourg to the Chapter at Cambrai.
[91]‘Dufay and His Contemporaries.’
[91]‘Dufay and His Contemporaries.’
[92]Grove: ‘Dict. of Music and Musicians.’
[92]Grove: ‘Dict. of Music and Musicians.’
[93]‘Early English Harmony’; Vol. I edited by H. E. Wooldridge, 1897; Vol. II edited by Rev. H. V. Hughes, 1913.
[93]‘Early English Harmony’; Vol. I edited by H. E. Wooldridge, 1897; Vol. II edited by Rev. H. V. Hughes, 1913.
[94]See Chapter X.
[94]See Chapter X.
[95]The form Ockenheim was introduced by Glarean, apparently without sufficient reason. It is supposed that Okeghem was born about 1430.
[95]The form Ockenheim was introduced by Glarean, apparently without sufficient reason. It is supposed that Okeghem was born about 1430.
[96]‘Life of Palestrina,’ Rome, 1828.
[96]‘Life of Palestrina,’ Rome, 1828.
[97]Hullah: ‘Lectures on the History of Modern Music,’ p. 53.
[97]Hullah: ‘Lectures on the History of Modern Music,’ p. 53.