{ "language": "en", "title": "Note against note in three voices", "chapter": "Second Exercise · First Lesson", "status": "Draft adaptation informed by ASD-STE100 Issue 9. Short-sentence and paragraph checks are applied. Full vocabulary, approved-meaning, and part-of-speech compliance has not been verified.", "pages": { "81": [ { "type": "heading", "level": 1, "text": "EXERCISE 2. LESSON 1. Note against note in three voices." }, { "type": "paragraph", "text": "Three voices can make a complete harmonic triad without another voice. More voices usually repeat notes that the triad already contains. The printed source refers to an added third voice here. The source note explains this questionable wording.\n\nSkill in three-voice composition prepares the student for composition with more voices." }, { "type": "paragraph", "text": "Joseph. I want to learn how to compose this music. I am afraid that the task will exceed my ability." }, { "type": "paragraph", "text": "Aloys. There is no cause for fear. You completed the two-voice species without much difficulty.\n\nFirst, learn the points that I will explain. Start with note against note. Use the same sequence as in two-voice composition. The three-voice work will then be less difficult." }, { "type": "paragraph", "text": "This is the simplest species for three voices.", "continues": true } ], "82": [ { "type": "paragraph", "text": "The three voices use equal note values. Each voice has one semibreve at a time. Each interval must be a consonance.", "continuation": true }, { "type": "paragraph", "text": "A triad is the normal choice for each measure. Another musical requirement can prevent its use." }, { "type": "paragraph", "text": "Joseph. What is a harmonic triad?" }, { "type": "paragraph", "text": "Aloys. A harmonic triad contains a bass note, a third above it, and a fifth above it. Refer to this example:" }, { "type": "music", "id": "82-a" }, { "type": "paragraph", "text": "Joseph. What requirements can prevent a triad?" }, { "type": "paragraph", "text": "Aloys. A smooth melody can require a sixth or an octave instead of the triad. Forbidden consecutive perfect consonances can also prevent a triad.\n\nIf this problem occurs, use a sixth instead of the fifth, an octave, or both. Refer to this example:" }, { "type": "music", "id": "82-b" }, { "type": "paragraph", "text": "Joseph. In measure 2, the tenor could use a fifth to complete the triad. In measure 3, the tenor could use", "continues": true } ], "83": [ { "type": "paragraph", "text": "a third. The other measures could stay as you wrote them. Refer to this example:", "continuation": true }, { "type": "music", "id": "83-a" }, { "type": "paragraph", "text": "These movements appear correct. They also permit a smooth melody." }, { "type": "paragraph", "text": "Aloys. Your proposal is acceptable. My first example has better melodic movement, order, and variety. The tenor descends by step through measure 3. It does not leap.\n\nMeasure 3 contains a sixth. In this context, the bass note mi favors a sixth over the other consonances. I will explain the reason again. First, refer to this arrangement with a sixth:" }, { "type": "music", "id": "83-b" }, { "type": "paragraph", "text": "The note that makes the sixth has moved from its normal position. In its normal position, the arrangement is as follows:" } ], "84": [ { "type": "music", "id": "84-a" }, { "type": "paragraph", "text": "C makes a triad in its normal position. If C moves one octave higher, the other notes stay in position and a sixth results. This applies when fa comes after mi. Refer to this example:" }, { "type": "music", "id": "84-b" }, { "type": "paragraph", "text": "If mi leaps to a different note, a fifth is preferable to a sixth. Refer to these examples:" }, { "type": "music", "id": "84-c" }, { "type": "paragraph", "text": "The discussion now returns to variety. In my example, A occurs once in the tenor. In your example, A occurs twice. Refer to this comparison:" }, { "type": "music", "id": "84-d" } ], "85": [ { "type": "paragraph", "text": "This variety is important in the present work and in future work." }, { "type": "paragraph", "text": "Joseph. I have another question. Why do the voices start so far apart in your example? A different arrangement appears possible." }, { "type": "paragraph", "text": "Aloys. Your questions cause little difficulty and much pleasure. The bass in that example ascends continuously by step. The other voices need space to approach the bass by contrary motion. They therefore start far from the bass." }, { "type": "paragraph", "text": "Show examples of the different arrangement." }, { "type": "paragraph", "text": "Joseph. I will give two examples. My purpose is to learn, not to prove that I am correct." }, { "type": "music", "id": "85-a" }, { "type": "paragraph", "text": "Aloys. Some details of your examples are correct. In the first example, all three voices ascend from measure 1 to measure 2. Some voices move by step. Other voices move by leap.\n\nThis motion can cause a problem. The tenor and alto show that problem here:" }, { "type": "music", "id": "85-b" } ], "86": [ { "type": "paragraph", "text": "Without the bass, the progression is incorrect. It appears to move from an imperfect consonance to a perfect consonance. But the fifth is diminished. It is not a consonance.\n\nThe rules apply between the upper voices as well as between each voice and the bass. Composition with more voices can require less strict use of these rules. A strong reason can also permit an exception in three voices.\n\nIn the first example, the penultimate fifth moves to the final octave by similar motion. Both intervals are perfect consonances. No alternative is possible here. Refer to this example:" }, { "type": "music", "id": "86-a" }, { "type": "paragraph", "text": "Joseph. Can a tenth replace the octave to prevent the problem?" }, { "type": "paragraph", "text": "Aloys. A tenth is possible. But this imperfect consonance does not give sufficient completeness and rest to the final note. Four-voice composition can include the fifth and the third. The fifth can then provide the necessary support." }, { "type": "paragraph", "text": "Joseph. What is incorrect in my second example?" }, { "type": "paragraph", "text": "Aloys. Ascending motion into sixths on the downbeat has some harshness. Sixths on the upbeat have less weight and are more acceptable. This species has no upbeat notes. I will explain upbeat sixths later." }, { "type": "paragraph", "text": "I will give a model in three forms. First, put the cantus firmus in the upper voice. Next, put it in the middle voice. Finally, put it in the bass", "continues": true } ], "87": [ { "type": "paragraph", "text": "voice. Use this procedure in your subsequent exercises. Use the earlier cantus firmi in their specified sequence.", "continuation": true }, { "type": "music", "id": "87-a" }, { "type": "paragraph", "text": "The example uses a triad in each measure where no other requirement prevents it. The voice movements also obey the principles already explained." }, { "type": "paragraph", "text": "Joseph. From measure 7 to measure 8, the alto and bass move from an imperfect consonance to a perfect consonance. The rule requires contrary motion. You use similar motion." }, { "type": "paragraph", "text": "Aloys. That observation is correct. In three voices, an exception is possible when no alternative prevents a more serious problem." }, { "type": "paragraph", "text": "Joseph. I remember the exception. But the bass could move from F to the higher C by contrary motion. Refer to this proposal:" }, { "type": "music", "id": "87-b" } ], "88": [ { "type": "paragraph", "text": "Aloys. The proposal prevents the first problem. But it causes two subsequent violations. One occurs from note 9 to note 10. The other occurs from note 10 to the last note.\n\nAt note 9, the tenor and bass also make a unison. An octave gives more harmonic support than this unison. In this type of composition, stay within the five staff lines unless a strong reason requires otherwise." }, { "type": "paragraph", "text": "Joseph. I accept those reasons. Is this different proposal possible?" }, { "type": "music", "id": "88-a" }, { "type": "paragraph", "text": "Aloys. This proposal is worse. A major-sixth leap is not permitted. A seventh leap gives an additional problem. The melody must be easy to sing.\n\nI will now make an example with the cantus firmus in the middle voice." }, { "type": "music", "id": "88-b" }, { "type": "paragraph", "text": "Joseph. Why do you use an octave in measure 9? A fifth appears possible there. It would complete the triad." } ], "89": [ { "type": "paragraph", "text": "Aloys. A fifth is possible. But the octave gives a better melody. The melody is an important consideration.\n\nOne model remains. It will have the cantus firmus in the bass." }, { "type": "music", "id": "89-a" }, { "type": "paragraph", "text": "Joseph. The final measure is my only concern. A third instead of the fifth could give more harmony." }, { "type": "paragraph", "text": "Aloys. The choice of third matters. A minor third does not give a sufficiently clear ending here. A major third causes a different problem.\n\nThis mode uses a minor third, F without a sharp. The listener hears that pattern throughout the cantus firmus. A sharp at the end can cause an unwanted change. Omission of the third is therefore preferable." }, { "type": "paragraph", "text": "Make examples in the five remaining modes. Put the cantus firmus in each of the three voices. Obey the principles already explained." }, { "type": "music", "id": "89-b" } ], "90": [ { "type": "paragraph", "text": "Joseph. The final cadence was difficult to make. The standard cadential formula does not fit the penultimate measure. This is the formula:" }, { "type": "music", "id": "90-a" }, { "type": "paragraph", "text": "The mode does not naturally supply a perfect fifth in that position. It does not permit the sharp that the standard cadential formula requires. I therefore used a different ending.\n\nThe final major third concerns me. You said to omit the third in modes of this type. You specified a fifth instead." }, { "type": "paragraph", "text": "Aloys. Your decision about the cadence is correct. The semitone has a position that prevents the standard cadential formula. A different cadence is therefore necessary.\n\nThe final major third is acceptable here. The instruction to omit the third applies only when omission is possible. A final fifth would cause two consecutive fifths. A major third is therefore necessary instead. The minor third gives a less complete ending.\n\nContinue with the exercises." }, { "type": "music", "id": "90-b" } ], "91": [ { "type": "music", "id": "91-a" }, { "type": "music", "id": "91-b" }, { "type": "music", "id": "91-c" }, { "type": "music", "id": "91-d" } ], "92": [ { "type": "music", "id": "92-a" }, { "type": "music", "id": "92-b" }, { "type": "music", "id": "92-c" } ], "93": [ { "type": "music", "id": "93-a" }, { "type": "music", "id": "93-b" }, { "type": "music", "id": "93-c" } ], "94": [ { "type": "music", "id": "94-a" }, { "type": "paragraph", "text": "Joseph. These are my examples in the remaining modes. I think they are correct within the limits of the cantus firmus. Without those limits, more measures could contain the harmonic triad." }, { "type": "paragraph", "text": "Aloys. That is correct. Later, you will write free composition without a cantus firmus.\n\nPractice with a cantus firmus gives substantial benefit. It develops practical skill and understanding. These prepare the student for knowledge of the art. Repeat this practice frequently." }, { "type": "paragraph", "text": "The first-species examples are complete. Continue to the second species." } ] }, "notes": [ { "id": "adaptation", "title": "About this reading version", "text": "Draft adaptation informed by ASD-STE100 Issue 9. Short-sentence and paragraph checks are applied. Full vocabulary, approved-meaning, and part-of-speech compliance has not been verified." }, { "id": "printed-third", "block": "p81-1", "title": "Source reading", "text": "The source says third. The argument appears to require fourth. The Latin and faithful English views explain the issue." }, { "id": "sixth", "block": "p83-3", "title": "Source reading", "text": "This is an arrangement with a sixth, not a reference to measure 6." }, { "id": "rhythm", "block": "p86-5", "title": "Rhythmic terms", "text": "Downbeat and upbeat describe the historical thesis and arsis in this passage. The source prints Arhsi." } ], "version": "ste100", "label": "Simplified English", "standard": { "issue": 9, "date": "2025-01-15", "reference": "https://www.asd-ste100.org/assets/files/ASD-STE100_ISSUE9.pdf", "claim": "Draft, not verified compliance", "scope": "Lesson adaptation only. Interface labels, source crops, and the faithful translation are outside the STE draft." }, "glossary": { "voice": "One musical line in the counterpoint. The adaptation uses voice consistently for a written part.", "cantus firmus": "The given melody. Cantus firmi is its plural.", "counterpoint": "Music formed from combined melodic voices.", "species": "A category of counterpoint exercise with specified note-value relationships.", "semibreve": "A whole-note value in the modern engraving.", "measure": "The numbered rhythmic position discussed in this lesson; not a modern quarter-note beat.", "harmonic triad": "A bass note with a third and a fifth above it. Triad refers to the same item.", "consonance": "An interval that the counterpoint rules accept as consonant.", "perfect consonance": "Here, a unison, perfect fifth, octave, or corresponding compound interval.", "imperfect consonance": "Here, a third or sixth, or a corresponding compound interval.", "third / fifth / sixth / seventh / octave / tenth": "Music interval names. These terms do not mean an ordinal item in a work sequence.", "major / minor / diminished": "Qualities of musical intervals, used as parts of technical interval names.", "bass / tenor / alto": "Names of the written voices in the examples.", "step / leap": "Melodic interval categories: adjacent scale positions, or a larger interval.", "contrary motion": "Two voices move in opposite pitch directions.", "similar motion": "Two voices move in the same pitch direction.", "downbeat / upbeat": "The rhythmic positions called thesis and arsis in this context.", "cadence / standard cadential formula": "A musical ending; the latter term renders clausula formalis.", "mode": "The tonal organization called tonus in this discussion.", "sharp": "The musical accidental that raises the specified pitch.", "mi / fa": "The source’s solfège syllables.", "compose / ascend / descend": "Project technical-verb candidates for making counterpoint and moving toward higher or lower pitches." } }