CHAPTER 9

Melody:

Note-to-note counterpoint
Modal melodies

Rhythm:

Borrowed beat divisions (triplets)

In this chapter youll learn to:

Perform solo cantus firmi

Improvise note-to-note contrapuntal phrases to a given cantus firmus
Perform two-part note-to-note contrapuntal exercises with a partner
Perform rhythms with borrowed beat divisions (triplets) in simple meters

Cantus Firmi
The following cantus firmi (CFs) are notated exclusively in whole notes,
with neither meter signatures nor bar lines. The reason for this is to
concentrate focus on melodic line. However, this does not suggest you
should sing these CFs in a dry, lifeless, metronomic manner. Rather,
perform them dynamically, managing tempo and volume to create a
musical statement that begins, moves toward the focal point (climax)
somewhere near the middle, then moves away from this point for a
satisfying ending.
Note that the first two CFs are the same but notated in two different
clefs.
391 Fux

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392 Fux

393

394 Morley

395 Fux

396

397 Layadov

398

399 Fux

Improvisation 9.1: First-Species Counterpoint

A. At the keyboard, play one of the given cantus firmus (CF) fragments
with all of the possible counterpoints to the right. Next, play just the
counterpoint while singing one of its possible counterpoints. Create
a complete phrase by combining beginning, middle, and ending CF
fragments while singing a corresponding contrapuntal line.
Strategies

Play each of the CFs and memorize the counterpoints to train your
ear to favor consonances (PU, 3, P5, 6, and P8).
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Move in a variety of motions while avoiding parallel and direct

perfect intervals.

B. While a partner sings a CF, improvise a first-species counterpoint

by choosing from among the possible counterpoints to the right. Start
with just the beginning fragments, then combine them with middle
and ending fragments to create entire phrases. Switch parts and sing
the CF for your partner.
C. Find a different partner who sings in a different range from your
previous classmate; if you started each exercise on a unison before, find
someone who sings an octave away from your part.

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Quick Composition Notate your favorite improvisation. Write

the solfge syllables of your improvisation above a single staff, then
choose an appropriate clef and convert to notation in whole notes
on the staff. Exchange with a peer and sing each others melody with
solfge syllables, scale-degree numbers, or letter names.

First-Species Counterpoint
The cantus firmi appearing at the beginning of the chapter now appear
with note-to-note counterpoints above and below. Sing the following
exercises with a partner, in two groups, or alone, playing one part while
singing the other.
400

401

402

403 Fux

404

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405

406

407

Modal Melodies
Melodies 408427 feature white-key modes that may be transposed
and notated with key signatures, accidentals, or both, as demonstrated
in literature melodies appearing in succeeding chapters. Review the
explanations in Chapter 5 to incorporate either relative or parallel
solfge while performing these melodies. Each section of melodies
includes a short intonation formula that presents the characteristic
features of the mode being isolated; many other formulae are possible.
After practicing these formulae try to invent your own.
Dorian
408

409

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410

411

Phrygian
412

413

414

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415

Lydian
416

417

418

419

Mixolydian
420

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421

422

423

Aeolian
424

425

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426

427

Ensemble Melodies
You have already performed rounds, rhythmic duets, and two-part
counterpoint. We now expand such interactive performance with
ensemble melodies for two, three, and four parts. Prepare each part
separately, as for a single-line melody. Practice musically either with
parts separately or in combination with the rhythm, conducting, pitch,
solfge syllables, or scale-degree numbers. If a part is too high or too
low for your voice range, transpose it down or up an octave so it will be
in a more comfortable register.
Suggestions for Class Performance

Choose an ensembleone performer for each part, for example.

Choose a conductor, who will provide the tonic pitch and establish
the tempo. Then every performer should conduct, following the
conductors lead.
Stand while singing in order to produce the best sound.
Maintain eye contact with each performer.
Balance your part with the others.

Variations

118

Exchange parts and perform again until each musician has sung
every part.
Choose ensembles that feature more than one performer on each part.

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One musician can play one part while singing another.

One performer can perform the rhythm of two parts
simultaneouslytapping with each hand on a different surface or
tapping one part while performing the other part vocally

428 Couperin, Les Moissonneurs (adapted)

429 Trk, The Hunters (adapted)

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430 Who Stole My Chickens? (traditional)

Rhythms with Borrowed Beat Divisions:

Triplets in Simple Meters
The counting syllables for triplets are the same as those used for
compound-meter beat divisions. Unless indicated otherwise, the beat
durations remain constant.
Beat Unit
431

432

433

434

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435

436

437

438

439

Duets
440

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441

442

443

444

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445

Beat Unit
446

447

448

449

450

451

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Duets
452

453

454

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