As we begin to get further into the topic of Renaissance counterpoint, it is now time to add on some more terms, definitions, and rules.
The first term that will be introduced is the cantus firmus – a melody used in a consistent rhythm for other melodic lines to be added around it. Think of it as the “main melody” or basis for what all the other contrapuntal lines will be built around. A cantus firmus can be taken from a pre-existing melody or it can be originally composed.
As other melodic lines are being added to the cantus firmus, the composer must be mindful of the harmonic interval qualities. This, will probably come as a review:
- Perfect Consonance – PU, P5, P8
- Imperfect Consonance – m3, M3, m6, M6
- Dissonance – m2, M2, P4, A4 / d5, m7, M7
Being mindful of your voice leading, the relationship between the melodic and harmonic dimensions in music, will help you create wonderful contrapuntal music.
Now, it is time to talk about movement and the different types:
- Parallel Motion – when both voices move in the same direction over the same distance
- Similar Motion – when both voices move in the same direction, but in different distances
- Oblique Motion – when one voice stays put while the other one moves
- Contrary Motion – when both voices move in opposite directions
- No Motion – when both voices repeat their same pitch and don’t move
Keep these in mind as we continue to dive in deeper into the world of Renaissance counterpoint.
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