Beruflich Dokumente
Kultur Dokumente
One counterpoint note per note of Cantus Firmus. (Whole note: Whole
note)
Beginning/Ending
Dissonance Treatment
Contour
Contour can have zenith, nadir, or continually rise. It does not need to be
the same as the Cantus Firmus. Zenith or nadir must occur at different
point than that of the Cantus Firmus.
Two counterpoint notes per note of Cantus Firmus. (Two half notes: Whole
note)
Beginning/Ending
Dissonance Treatment
All rules for first species still hold true. Check consecutive downbeats for
parallel fifths and octaves.
For the upbeat only, dissonances are now allowed with the followed
restrictions:
o Always on the upbeat
o Always an ascending or descending passing tone (NOT a neighbor
tone)
Four counterpoint notes per note of Cantus Firmus. (Four quarter notes:
Whole note)
Beginning/Ending
Dissonance Treatment
Nota Cambiata The first, third, and fourth note must be consonant. The
second note must be dissonant.
Avoid parallel consonances on consecutive strong beats.
Avoid melodic outline of tritone.
Beginning/Ending
Dissonance Treatment
Eighth notes are allowed in beats two or four only and must be lower
neighbors or passing tones. The pair of eighth notes must be approached
and left by step. Either may be dissonant. Both may be dissonant in the
special case of 6-o5-4-3 above or 3-4- o5-6 below.
You may use dotted half notes that begin on beats one or three. The third
beat of the tie must be consonant and treated like a strong beat in third
species.