Tag Archives: 2:1

Counterpoint in Composering: Second Species

Gah. There are too many configurations here. Some of these are better than others, I’m not going to bore you with a detailed slog through the rights and wrongs. Consider this a public “working out” in a contrapuntal way. 2:1:CF (2:1 in the soprano, 1:1 in the middle, CF in the bass) Assessment: This one […]

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Summer ad Parnassum (2:1 Ionian)

2:1 Above Cantus What I like: I’m pretty satisfied with this one. I wrote it rather quickly and things just seemed to click into place. What I don’t like: You see that leap of a 4th that I didn’t compensate for in measure 3? Well I didn’t see it until just now. This is one […]

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Summer ad Parnassum (2:1 Aeolian)

2:1 Above Cantus What I like: I really like this one. The contours are smoother and more natural and there seems to be direction and purpose to the counterpoint. What I don’t like: Nothing. This one’s all good, baby. 2:1 Below Cantus What I like: Love the scale descent at the beginning and I like […]

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Summer ad Parnassum (2:1 Mixolydian)

2:1 Above Cantus What I like: This one has a more generic arch shape that works nicely. I feel like the leaps are well compensated and, while there are gaps, those gaps are filled in rather nicely. I also like that my peak note is dissonant to tonic. ┬áThat makes me happy. What I don’t […]

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Summer ad Parnassum (2:1 Lydian)

2:1 Above Cantus What I like: I like that the phrases move from F-A, F-A, then A-F. I also discovered the joy of octave leaps. What I don’t like: The narrow range in measures 8 – 12 bugs me. 2:1 Below Cantus What I like: I like the slow ascent from the low C to […]

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Summer ad Parnassum (2:1 Phrygian)

2:1 Above Cantus What I like: Everything. This one is good stuff. I especially like that my range is from F to F even though the tonic is E. Little things make me happy. What I don’t like: Might be a few too many Es in there. 2:1 Below Cantus What I like: I like […]

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Summer ad Parnassum (2:1 Dorian)

I started doing the 2:1 exercises over the weekend. Fux is hard core – he allows for passing tones (diminutions of a third) but not for neighbor tones. That hurts, J.J., that really hurts. On the other hand, he is a lot more permissive about leaps and Joseph’s counterpoints spring around like a gazelle on […]

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