{"id":370,"date":"2016-03-28T13:26:45","date_gmt":"2016-03-28T17:26:45","guid":{"rendered":"http:\/\/robertkelleyphd.com\/home\/?page_id=370"},"modified":"2022-08-24T16:10:11","modified_gmt":"2022-08-24T20:10:11","slug":"sixteenth-century-counterpoint-guide","status":"publish","type":"page","link":"https:\/\/robertkelleyphd.com\/home\/teaching\/music-theory\/sixteenth-century-counterpoint-guide\/","title":{"rendered":"Sixteenth-Century Counterpoint Guide"},"content":{"rendered":"<hr \/>\n<p align=\"CENTER\"><b><br \/>\nSixteenth-Century Counterpoint Study Guide:<br \/>\nA Complete Outline of Rules and Style Guidelines<\/b><br \/>\n<a href=\"http:\/\/www.robertkelleyphd.com\/\" target=\"_top\" rel=\"noopener noreferrer\">Robert T. Kelley<\/a><br \/>\nSeptember 2000 &#8211; January 2001<\/p>\n<hr \/>\n<p><i>Note: This is not a tutorial, and cannot serve to replace classroom instruction in modal Renaissance counterpoint. It is intended to function as a review resource for students preparing for an exam or for anyone needing to brush up on their skills.<\/i><\/p>\n<hr \/>\n<ol type=\"I\">\n<li>The Modal System\n<ul>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/rhythnot.htm\">Notation and Metric\/Rhythmic Conventions<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/renmodes.gif\">The <i>Dodecachordon<\/i>, the mode system in use during the 16th Century<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/modetone.htm\">16th-Century Polyphonic Mode Usage<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/musficta.htm\">Avoidance of the Tritone and Musica Ficta<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/clausula.htm\">The Clausula Vera<\/a><\/li>\n<\/ul>\n<\/li>\n<li>Melodic Writing and Text Setting\n<ul>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/melodic.htm\">Melodic Idioms<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/txtsttng.htm\">Text Setting Guidelines<\/a><\/li>\n<\/ul>\n<\/li>\n<li>Consonance and Dissonance\n<ul>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/consdiss.htm\">The Consonant and Dissonant Intervals<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/interval.htm\">Intervallic Analysis Technique<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/dissonan.htm\">The Permitted Types of Dissonance and Their Use (in two voices)<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/diss34vc.htm\">Consonance and Dissonance in Three- and Four-Voice Textures<\/a><\/li>\n<\/ul>\n<\/li>\n<li>Imitative Counterpoint\n<ul>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/species.htm\">Species Counterpoint<\/a><\/li>\n<li><a href=\"http:\/\/www.robertkelleyphd.com\/home\/headmotv.htm\">Head-Motive Technique<\/a><\/li>\n<li><!--a href=\"http:\/\/www.robertkelleyphd.com\/16canons.htm\"-->Canon<\/li>\n<li>Cantus Firmus Technique<\/li>\n<li>Familiar Style<\/li>\n<li>The Motet, the Mass, and Parody Technique<\/li>\n<li>Polychoral Style<\/li>\n<li>Extended Chromaticism<\/li>\n<\/ul>\n<p><!--LI]Familiar Style [UL] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/famstyl1.htm\"]Reasons for Homophonic Texture[\/a] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/famstyl2.htm\"]Style Guidelines[\/a] [\/UL] [LI]Cantus Firmus Technique [UL] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/cntfrms1.htm\"]Chant-Based Polyphony[\/a] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/cntfrms2.htm\"]The Use of Secular Tunes[\/a] [\/UL] [LI]Motets, Masses, and Parody Technique [UL] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/16motets.htm\"]The Motet[\/a] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/16masses.htm\"]The Mass[\/a] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/16parody.htm\"]Parody Technique[\/a] [\/UL] [LI]Polychoral Style [UL] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/polychr1.htm\"]Counterpoint Rules and Techniques for More than Four Voices[\/a] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/polychr2.htm\"]The Use of Familiar Style[\/a] [LI][a href=\"http:\/\/www.robertkelleyphd.com\/polychr2.htm\"]Antiphonal Choirs[\/a] [\/UL] [LI]Additional Harmonic Devices and Extended Chromaticism [UL] [LI]Later Modality, Gesualdo, and Chromaticism [LI]Secunda Practica [\/UL]----><\/li>\n<\/ol>\n<hr \/>\n<p align=\"CENTER\"><b>Bibiography<\/b><\/p>\n<p>Fux, Johann Joseph, tr. Alfred Mann and John Edmunds. <u><a href=\"https:\/\/amzn.to\/2ULVGst\">The Study of Counterpoint<\/a><\/u>, from <u>Gradus ad Parnassum<\/u>. New York and London: W. W. Norton &amp; Company, 1971.<\/p>\n<p>Gauldin, Robert. <u><a href=\"https:\/\/amzn.to\/2KpnQFM\">A Practical Approach to Sixteenth\/Eighteenth-Century Counterpoint<\/a><\/u> (2 separate volumes). Prospect Heights, Illinois: Waveland Press, Inc., 1995. (Short volumes with good information.)<\/p>\n<p>Schubert, Peter. <a href=\"https:\/\/amzn.to\/2G3vqAA\">Modal Counterpoint Renaissance Style<\/a>. Oxford University Press, 2007.<\/p>\n<hr \/>\n<p><input name=\"IL_IN_ARTICLE\" type=\"hidden\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sixteenth-Century Counterpoint Study Guide: A Complete Outline of Rules and Style Guidelines Robert T. Kelley September 2000 &#8211; January 2001 Note: This is not a tutorial, and cannot serve to replace classroom instruction in modal Renaissance counterpoint. It is intended to function as a review resource for students preparing for an exam or for anyone [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":55,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-370","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sixteenth-Century Counterpoint Guide &#8211;<\/title>\n<meta name=\"description\" content=\"Contrapuntal rules and techniques for writing modal counterpoint. 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