The Continued Evolution of Counterpoint
Refresher: What is Counterpoint?
In the post, Music Theory and Practice – Introduction to Counterpoint, we were introduced to musical counterpoint, which is when two or more voices (instrumental or vocal) are harmonically dependent upon one another while being independent in their rhythm and melodic contour. Early examples of this approach were accomplished by simply performing more than one song at the same time. The technique became refined over time and a set of princples or guidelines became established and in 1725, Johann Joseph Fux (c. 1660 – Feb. 13, 1741) published a book, Gradus ad Parnassum (Steps to Parnassus), that provided a guide for students learning counterpoint. Some counterpunctal forms include Bach's Inventions and Sinfonias, the canon (of Pachabel famous Canon in D) and the fugue, a significant musical form from the Baroque (1600 to 1750) until today.
Review of types of motion
There are four type of musical motion used in counterpoint:
Parallel - voices move in the same direction with the same interval relationship
Oblique - one voice moves, while the other remains at the same pitch
Contrary - voices move in different directions
Similar - voices move in same direction but the interval relationship between them changes
Four Principles found in Counterpoint of the 17th and 18th century
Each line must present a melody that is good as a solo. When perfect consonaces ar present, each line should not be approached by similar of a motion.
Voices should have enough in common that they have stylistic unity. While lines should be independent. They should also remain unified. For example, both voices may be moving in 16th notes while moving in contrary motion.
The line/lines vertically present or imply harmonic succession that fits within common practice harmonic theory. This means there is a strong dominant to tonic relationship. Most often, composers, choose to use the root and third of a chord to imply harmony when only two voices are present. However, when the fifth of a card appears in the lower voice, the root of the chord is often eliminated.
In accordance with common practice music, the lines are primarily consonant with occasional dissonances and non-harmonic tones. The most often used consonant intervals in two voice counterpoint are the third, six, and octave with the octave being the least used of these three. Although the fifth is considered consonant, composers used it infrequently. The most common used dissonant interval is tritone (the augmented fourth or diminished fifth). When a tritone is used, it is meant to imply dominant seven chord.
Three Classical Composers Take on Counterpoint
Composer 1:
Domenico Scarlatti
Domenico Scarlatti (Oct. 26, 1685 - July 23, 1757) was an Italian composer, whose style bridged from Baroque to Classical. His works are noted for their noteworthy (pun always intended in a music blog) counterpoint. We explored his counterpunctal keyboard writing previously in Music for Mousers and Mutts: 3 Works of Classical Music for Pet Appreciation Week.
Scarlatti often disgarded the "rules" of counterpoint, even commiting the musical "cardinal sin" of writing parallel fifths. Scarlatti also included some Italian folk elements into his compositions making him one of the first composers who compose national art music. The early piano, called the fortepiano, was invented in 1689 by Bartolomeo Cristofori. It would be the piano for which Scarlatti would compose. His works were often interchangeably performed on the harpsichord which remained popular until the late 18th century, You can listen to Scarlatti's counterpoint in his Sonata in A minor below with the first performance using a harpsichord and the second a piano.
Sonata in A minor (Kirkpatrick No. 3)
Harpsichord
Piano
Composer 2:
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (Jan. 27, 1756 - Dec. 5, 1791) may very well be the most well-known composers of the Classical era, if not of all time. A famous child prodigigy, unlike many other artists who toil in relative obscurity, he was a celebrity in his lifetime. He is one of the most prolific and highly-regarded composers solidly at the height of the First Viennese school.
Mozart composed 41 symphonies in his short life. With his final being Symphony No. 41 in C major, K. 551 which was completed on Aug. 10, 1788. Unfortunately, the date of its first performance is unknown, what is known however, when the grand work was given its cosmic nickname. German concert impresario living in London, Johann Peter Saloman, included the symphony in 1821 London performance and billed the work as "Jupiter" on its program to illustrate the shear massive size of the work.
Symphony No. 41 culminates with a majestic final movement which features five different melodies which Mozart wove together with his masterful use of counterpoint. In the video below, musciologist Richard Atkinson, uses a helpful color-coded guide to show us where the various melodies enter and how they are used. Musician and teacher Franz Xaver Wolfgang Mozart (July 26, 1791 to July 29 1844), who also happened to be Wolfgang's youngest son, wrote that it was “the highest triumph of instrumental composition.”
“Jupiter” Symphony No. 41, K. 551, 4th movement (1788)
With Color-Coded Guide to Counterpoint
Uninterrupted Performance
Composer 3:
Franz Joseph Haydn
Franz Joseph Haydn (March 31, 1732 - May 31, 1809) what is an Austrian composer who composed throughout the Classical period. He has been come to be known as the “father” of the symphony and string quartet, which we were previously explored in the post, Papa Haydn – Father of the Symphony, the Sonata, and the String Quartet.
Haydn completed his 48th of his 68 string quartets in 1790, his String Quartet, Op. 64, No.1. In its fourth movement, Haydn employs ingenious counterpoint that musicologist Richard Atkinson describes as "hilarious." Haydn was a composer who is remembered for his sense of humor, see his Symphony No. 94 in G major known as the "Surprise," as well as his Symphony No. 101 in D major commonly referred to as "The Clock." In this movement, Haydn gives us the first glimpse of one of the motives that he will weave throughout the movement, shifting them metrically, fragmenting them, and moving them into unexpected key areas. As the exposition progresses, he reveals additional motives. All of this created a counterpunctal movement that still sounds contempoary today over two and a quarter centuries later.
String Quartet Op. 64, No. 1, 4th movement (1790)
With Color-Coded Guide to Counterpoint
Uninterrupted Performance
For Further Information
Kent Kennan’s Counterpoint, https://www.academia.edu/29542008/Kennan_Kent_Counterpoint_4th_edition)
Viva Scarlatti!
By Jove! Fun facts about Mozart’s last symphony.
Mozart: Symphony No. 41 "Jupiter" https://utahsymphony.org/explore/2021/04/mozart-symphony-no-41-jupiter/
The Father of the String Quartet By Alex Knudson https://www.boisestate.edu/presidents-writing-awards/the-father-of-the-string-quartet/
Janae J. Almen is a professional music instructor, composer, sound artist, and writer. She has a BA in Music/Education from Judson University and a MM in Computer Music/Composition from the Peabody Institute of the Johns Hopkins University. She is the founder of Perennial Music and Arts and is passionate about sharing her love of music and arts.