Unit 1-1 Formal Clausulae 18 Jun 20207 Jun 2022 Unit 1.1, Examples 1 and 2 In earlier periods musicians conceptualized cadences as a combination of Formal Clausulae in each of the separate voices. This idea, which originated in the…
Unit 1-1 Simple Cadence in Two Parts 18 Jun 20202 Jul 2022 Performing the discant and tenor clausulae at the same time results in a simple cadence. Notice that either clausula can be the either the higher or lower voice. Practice these…
Unit 1-1 Bass Clausula 18 Jun 20204 Jul 2022 The bass clausula consists of 1-5-1 or Do-Sol-Do It can only appear in the lowest voice It is the same for major and minor keys Practice these in all major…
Unit 1-1 Simple Cadence in Three Parts 23 Jun 20203 Aug 2022 The top parts consist of the discant and tenor clausulae The bottom part features the bass clausula Practice these in some major keys using Analytic Piano and some Minor Keys…
Unit 1-1 Four Part Cadence 23 Jun 202012 Aug 2020 The four part cadence adds the alto clausula In this case the alto clausula is simply 5-5-5 or Sol-Sol-Sol In future lessons we will see that the alto clausula actually…
Unit 1-1 Shorthand Figures for 5/3 Chords 25 Jun 202012 Jul 2020 Figured bass indicates the intervals above the bass that should be played for each sonority. Sometimes these intervals are literal intervals, but often they do not indicate the octave of…
Unit 1-2 Diminution of Simple Cadences in Two Parts 25 Jun 202030 Jun 2020 The art of transforming a simple, slow melody into a rich, fast-moving one is called diminution. The are of diminution was developed by the Italians during the Renaissance and the…
Unit 1-2 Diminution with repeated notes 30 Jun 202030 Jun 2020 The simplest (and perhaps most commonly overlooked) technique of diminution is repeating a note. Diminution is based on the idea that we can play several shorter durations in the space…
Unit 1-2 Simple Cadence Two Parts with 8:1 diminution 30 Jun 202030 Jun 2020 The following example uses 8th notes throughout (8:1). The first four notes have chord tones on the beats. The second half of the beat includes a non chord tone on…
Unit 1-2 Simple Cadence Two Parts with syncopated diminution 30 Jun 202012 Aug 2020 The last example of diminution includes syncopation. This is another example of the importance of rhythm and durations in creating diminution. We will discuss these and other techniques in future…
Unit 1-3 Ascending Parallel Tenths 4 Jul 20204 Jul 2020 So far we have looked at cadences as the building blocks of musical patterns. We saw that cadences were conceptualized as combination of clausulae (or single voice clauses). These usually…
Unit 1-3 5-6 Ascending Sequence in Three Parts 4 Jul 20206 Jul 2020 Could we add a third voice to the ascending scale in parallel tenths? We could add the 6th above the bass, resulting in the famous fauxbourdon. But what if we…
Unit 1-3 Descending Parallel Tenths 10 Jul 202010 Jul 2020 Perhaps even more common than ascending parallel tenths are descending parallel tenths: The descending scale lends itself to creating chains of suspensions since those must resolve downwards. The next two…
Unit 1-3 7-6 Descending Sequence in Three Parts 10 Jul 202010 Jul 2020 We can add a middle voice containing a chain of 7-6 suspensions This combines the fauxbourdon with a chain of suspensions making it a very common progression in music from…
Unit 1-3 Descending 2-3 Sequence in Two Parts 10 Jul 202010 Jul 2020 The other common way of adding suspensions to descending parallel tenths is delaying the lower part. This creates a chain of 2-3 suspensions in the bass.
Unit 1-4 Compound Cadence in Two Parts 12 Jul 202012 Jul 2020 So far we have looked at simple cadences. Simple means that the voices move at the same time. Let's remind ourselves of the simple cadence in two parts: A compound…
Unit 1-4 Compound Cadence with a Variety of Tenor Clausulae 12 Jul 2020 As we saw earlier, the tenor clausula can take various forms. Every one of these lends itself to a compound cadence with a delayed Discant Clausula Derek Remeš, Compendium Derek…
Unit 1-5 Compound Cadence in Three Parts 16 Jul 202016 Jul 2020 In a compound cadence in three parts the bottom voice employs a Bass Clausula while the top voices remain the same as in two parts Notice that the 7-6 suspension…
Unit 1-5 Compound Cadence in Three Parts (3rd position) 21 Jul 2020 The same progressions work with the upper voices rearranged so the tenor Clausula is in the top part and the Discant Clausula in the middle part This also works with…
Unit 1-6 Simple Prelude Outline 21 Jul 202021 Jul 2020 We will now begin to structure our simple prelude. Lets begin with the bass: Opening pattern - Clausula Cantizans or do-do-ti-do in the bass. Descending sequenceClosing pattern - a clausula…
Unit 1-6 Realized Simple Prelude 21 Jul 202021 Jul 2020 We will now realize the figured bass in three parts - adding two parts in the right hand. Opening pattern – Clausula Cantizans (8-7-8 in the bass): note: the choice…
Unit 1-6 Simple Bariolage Version 21 Jul 2020 Now we can add some movement to the upper parts. We will use a simple diminution technique called Bariolage. Bariolage is originally a violin technique that can translate well to…
Unit 1-6 Prelude with Rests on first 16th 21 Jul 202021 Jul 2020 It is very common in baroque keyboard compositions to find a diminution that is similar to Bariolage but instead includes a 16th note rest at the beginning of each beat.…
Unit 2-1 Diminution and Variations 23 Jul 20205 Sep 2022 We will now turn back to exploring diminution in more depth. Diminution is the act of transforming a line of long durations into a line of shorter durations. The new…
Unit 2-1 Folia Bass 24 Jul 202024 Jul 2020 According to the Oxford Music Online, Folia is a: "A term for a musical framework used during the Baroque period for songs, dances and sets of variations. In the late…
Unit 2-1 Theme 24 Jul 202014 Aug 2020 We will study how Vivaldi applies different diminutions to create variations in the bass part in this piece. The original piece involves diminutions in three different parts, but we will…
Unit 2-1 Bass Variation 1 31 Jul 202014 Aug 2020 The next bass variation builds on the previous principles Bar one extends the idea of the repeated note and adds octave displacement The A in measure 2 is now an…
Unit 2-1 Bass Variations 2 and 3 1 Aug 202014 Aug 2020 What type of diminution did Vivaldi use in variation no. 2? Here's the Violoncello line of variations 3 compared to the original structural line we created. What types of diminution…
Unit 2-1 Writing simple Bass Variations 1 1 Aug 202024 Aug 2020 At this point, we have looked at the theme and three variations. Now try to apply these principles and create a few bass variations of your own. Follow these guidelines:…
Unit 2-2 Variation 4 3 Aug 202010 Aug 2020 The first bar of variation 4 begins with an arpeggiation that is filled in with a passing-tone (goal oriented). This patterns is very common: This is followed by a goal…
Unit 2-2 Variation 5 10 Aug 202011 Aug 2020 There are many of notes in the bass line of Variation 5. (note that the right hand performs the assumed upper voices and we are not looking at the counterpoint…
Uncategorized… Variation 6 – Syncopation 10 Aug 2020 In this variation is restricted to arpeggiation and syncopation.The pattern of arpeggiation follows the first arpeggiation fairly consistently (creating a sense of coherence or motivic unity)The notes are always part…
Unit 2-2 Variations 7-9 10 Aug 2020 What diminution techniques are used in variations 7, 8, and 9? What can we learn from comparing these to earlier variations?
Unit 2-2 Variation 10 11 Aug 2020 Variation 10 returns to the alternation of two bar patterns. The odd bars include a simple repetition with octave displacement and an added repeated note. The even bars also originate…
Unit 2-2 Variations 11-12 11 Aug 202011 Aug 2020 Variation 11 features some striking reversals of the metric structure used so far. Vivaldi begins the variation with a half-quarter rhythmic pattern which correlates to our expectations of meter. In…
Unit 2-2 Variation 13 11 Aug 2020 This variation employs arpeggiation with goal oriented diminution to connecting different notes of the chord. Leaping to and from chord tones is done freely.
Unit 2-2 Variations 14-15 11 Aug 2020 Variation 14 introduces a compound quadruple meter - some more rhythmic variety. Other than that, it is quite simple. The quarter-eighth rhythm is characteristic of the Siciliana and, in fact,…
Unit 2-2 Variation 16 13 Aug 202013 Aug 2020 Variation 16 once again combines several strategies. The first beat features an octave displacementThe second and third beat employ goal oriented diminution into a chord tone. This results in a…
Unit 2-2 Variations 17-18 13 Aug 2020 These two variations feature simple bass lines (maybe the upper parts are complex?):
Unit 2-2 Variation 19 13 Aug 2020 The last variation in the set is unique in its length (the final four bars repeat twice to add a sense of finality to the piece). The alternation of a…
Unit 3-1 Double Cadence 23 Aug 202023 Aug 2020 We now return to study voice leading patterns. What is a double cadence? We can define it roughly as the following: Double Cadence = Simple Cadence + Compound Cadence Let's…
Unit 3-1 Double Cadence – cont. 23 Aug 202031 Aug 2020 Tenor Clausula The most common variant used for the tenor clausula in double cadences is the following: A few important observations: The first two notes coincide with the simple discant…
Unit 3-1 Double Cadence – bass 23 Aug 202023 Aug 2020 Bass Clausula The simplest Bass Clausula we can add follows the original one - 1-5-1. Bass Variants There are some common bass variations for double cadences: Variant 1 Variant 2…
Unit 3-1 Double Cadence in Three Parts 23 Aug 202030 Aug 2020 The following summarizes the variants of double cadences in three parts: Derek Remeš: Compendium of Voice-Leading Patterns from the 17th and 18th Centuries to Play, Sing, and Transpose at the…
Unit 3-1 Altered Tenor Clausula 30 Aug 202030 Aug 2020 A variant of the double cadence includes changing the tenor clausula to 4-3-2-3. This creates a 7 chord at the beginning of the double cadence and also allows for a…
Unit 3-1 Double Cadence in Four Voices 30 Aug 202030 Aug 2020 Adding a 5-5-5 Alto Clausula to the three part cadences we can create double cadences in four voices. Derek Remeš: Compendium of Voice-Leading Patterns from the 17th and 18th Centuries…
Unit 3-1 Discant Clausula in the Bass 30 Aug 202030 Aug 2020 The Discant Clausula can appear in the bass part, especially at the beginning of pieces. One of the upper voices will have the Tenor Clausula 1-2-1 and an auxiliary voice…
Unit 3-2 Opening Formula 30 Aug 202030 Aug 2020 A cadence with the Discant Clausula in the bass, usually without syncopation and sometimes with a tonic pedal in the bass, is a common opening formula in Baroque pieces. Here…
Unit 3-2 Quiescenza 30 Aug 202030 Aug 2020 The quiescenza is another common pattern used at the beginning of Baroque pieces. This simple idea gives rise to a four part progression similar to the previous opening formula: Here…
Unit 3-2 The Alto Clausula 30 Aug 202030 Aug 2020 So far we've seen the alto clausula as a filler (usually 5-5-5) to achieve four parts. However, the Alto Clausula can take many forms and have many important uses. When…
Unit 3-2 The Hexachordal System 1 Sep 20201 Sep 2020 Whatever the truth about Guido’s role, the association of ut re etc. with the pitches C–A soon gained hold, and the system acquired its chief pedagogical principle: that mi–fa is always a semitone. The…
Uncategorized Modulation 2 Sep 202019 Sep 2022 Baroque composers were still influenced by the ancient hexachordal system and conceptualized moving between the different hexachords to be a natural part of their musical vocabulary. Nowadays, we use terms…
Uncategorized… Writing a Pattern Prelude 2 Sep 20202 Sep 2020 We will now go back to our previous effort to write a pattern prelude and try to incorporate some of the modulatory voice leading patterns. We will also follow the…
Unit 3-2 Pattern prelude continued: 2 Sep 202013 Sep 2020 This prelude is actually almost identical to J.S.Bach's original version of the C Major prelude from the Well-Tempered Clavier (BWV 846a): The original manuscript is quite telling in how Bach…
Unit 3-2 What about the patterns? 2 Sep 202019 Sep 2022 The pattern in Bach's first prelude seems quite simple, yet it incorporates a beautiful asymmetry, ascending 5 pitches and then 3. This prevents the piece from becoming dull on the…
Unit 4-1 Reading Figured Bass 9 Sep 202025 Sep 2022 Figured bass (or Thoroughbass) refers to a shorthand system to designate the intervals to be played above the bass. Depending on the number of voices, we choose different notes to…
Unit 4-1 The Rule of the Octave 13 Sep 202021 Sep 2020 In the assembly held on April 14, 1878, Cav. Maestro Ettore De-Champs, Resident Academician, answered that a study of harmony, as well as of languages, that begins from the theoretical…
Unit 4-1 Rule of the Octave in Minor Keys 21 Sep 202025 Sep 2022 We use the same figures in minor keys. However, the ascending RO features the raised 6 and 7 scale degrees. The descending rule of the octave features an augmented 6th…
Unit 4-1 ‘Advanced’ Rule of the Octave 21 Sep 202025 Sep 2022 As we saw in the Fenaroli examples, in four parts or more, we will encounter more four-note chords in the Rule of the Octave. We also saw in the Fenaroli…
Unit 4-1 Half Step Motion in the Bass 21 Sep 202025 Sep 2022 Half step motions in the bass are rare in traditional major/minor scale. They play an important rule in establishing the key center and therefore merit separate discussion. Much of the…
Unit 5-1 Partimenti 27 Sep 202027 Sep 2020 It is not easy to tell exactly what a partimento is. It is a basso continuo or thoroughbass, but one that does not accompany anything except itself. It is a…
Unit 5-1 Stepwise Bass Motion: Descending Sequences with 4/2-6 figures 30 Sep 202030 Sep 2020 As we have seen earlier, the motion from a 4/2 to a 6 chord with a descending second in the bass is very common and very useful in Baroque counterpoint.…
Unit 5-1 Some useful partimenti video guides 30 Sep 202030 Sep 2020 https://www.youtube.com/watch?v=j6pxLVcwW24&feature=emb_logo https://www.youtube.com/watch?v=KtxGKcdGP1s&feature=emb_logo https://www.youtube.com/watch?time_continue=1&v=mMjnaN8c9Jc&feature=emb_logo https://www.youtube.com/watch?time_continue=2&v=eAgxdmJa87A&feature=emb_logo
Unit 5-1 Evaded Cadences 11 Oct 202013 Nov 2022 A cadence is "evaded" if the impression is given of ending with 5-1 in the bass, but then something else happens. Form 1: Deceptive cadence - Bass goes to 6…
Unit 5-1 Leaping Bass: ↓3 ↑2 Sequence with 6/3 Chords 11 Oct 202012 Oct 2020 The falling thirds sequence is extremely common in Baroque music: Derek Remeš, Compendium of Voice-Leading Patterns from the 17th and 18th Centuries to Play, Sing, and Transpose at the Keyboard…
Unit 5-1 Leaping Bass: ↓3 ↑2 Sequence with 6/5 Chords 12 Oct 202012 Oct 2020 Similar to that with the 6 chords, this sequence is very common in Baroque music. It includes dissonant chords (6/5) which add more expressive affect. It has fewer possibilities for…
Unit 5-1 Leaping Bass: ↓5 ↑4 Sequence 14 Oct 202015 Oct 2020 Thee falling fifths ("circle of fifths") sequence is one of the most common in the baroque period. It occurs in three forms: (1) only 5/3 chords, (2) alternating 5/3 and…
Unit 6-1 Lament Bass 18 Nov 202018 Nov 2020 The Lament Bass is a Ground Bass or Passacaglia, built on a descending perfect fourth from the tonic to the dominant. The Diatonic version of the Lament Bass uses descending…
Unit 6-1 Lament Bass and Voice Exchange 18 Nov 202018 Nov 2020 Voice exchange often occurs between the second harmony and the last harmony. In minor this voice exchange includes false relations. Voice Exchange in the Diatonic Lament Voice Exchange in a…
Unit 6-1 The ‘Small’ Omnibus 18 Nov 202018 Nov 2020 The small ombinus is a chromatic voice exchange progression that utilizes the 6/4 figure in the middle for smoothest voice leading: If we simply focus on the outer voices, we…
Uncategorized Concerto 12 Oct 202212 Oct 2022 https://www.youtube.com/watch?v=DkBzabuGNRc https://www.youtube.com/watch?v=BvMTCRofeB4 Let's look at what a figured bass for a concerto movement might look like - think of this as a partimento that you realize as a concerto movement
Uncategorized Realizing a partimento as a Concerto Movement 12 Oct 202212 Oct 2022 Realize as a regular partimento Consider where the ritornello would be Consider Tutti and Solo sectionsAdd imitation if using more than one soloistWhen the partimento stops, consider filling in with…
Uncategorized Vivaldi Concerto RV 152 12 Oct 202212 Oct 2022 Here is the actual concerto movement we've been working on: https://www.youtube.com/watch?v=wifyaByJsck And here's a rough reduction of it to help you see the relationship to the original partimento and realization…
Uncategorized Common Figured Bass Realization Errors 24 Oct 202224 Oct 2022 Missing the 3rd of a chord - unless the chord has a 2 or 4 in the figure, a 3rd is almost always the most important note to add, so…
Uncategorized Some additional suggestions for diminution 24 Oct 202224 Oct 2022 As soon as you introduce a specific diminution, that figure becomes a motive in your piece. Using many different types of diminutions reduces the sense of cohesiveness of your composition.…
Uncategorized Arpeggiation and Compound Melody 24 Oct 202224 Oct 2022 Arpeggiation Arpeggiation is the process of outlining a vertical sonority as a melodic figure. This may be in ascending or descending order or may leap back and forth. Arpeggiation of any…
Uncategorized Three Systems of Constraints 7 Nov 20227 Nov 2022 At this point you can think of writing counterpoint as having to fulfil three separate systems of constraints: Harmonic constraints - either given by a bass and figures, or one…
Uncategorized Writing a Fugue from scratch (?) 13 Nov 202214 Nov 2022 After writing a few fugues from partimento - we can work towards writing a fugue from scratch (or at least without a given partimento) So where do we start? Before…
Uncategorized Structuring an exposition 13 Nov 202216 Nov 2022 We can now take one of these models or paradigms and structure the outline for an exposition. Remember that the answer enters as the subject cadences. We will use the…
Uncategorized Eight common techniques of cadential evasion demonstrated on a double cadence 16 Nov 202216 Nov 2022