Contrapuntal Harmony for Beginners

By C. H. Kitson

This vintage book contains a comprehensive guide to contrapuntal motion. In music theory, contrapuntal motion is the movement of two melodic lines in relation to each other. In standard four-part harmony, it is imperative that the lines remain independent - a result that can be maintained through the use of the four types of contrapuntal motion: similar motion, contrary motion, parallel motion, and oblique motion. Written in clear, plain language and full of interesting and useful information, this text is ideal for those with little previous musical knowledge, and will be of considerable utility to students. The chapters of this book include: "Two-Part Writing (Harmony Notes Only)", "Unaccented Diatonic Passing Notes used Singly", "Accented Passing Notes Used Singly", "Simultaneous Combined Unessential Notes", "Simultaneous Use of Harmony and Unessential Notes", "Two Notes to One Combined with a Longer Note", "Applied Technique", etcetera. This book is being republished in an affordable, high-quality, modern edition - complete with a specially commissioned new biography of the author.

• Language: English
• Publisher: Pomona Press
• Release date: Dec 21, 2016
• ISBN: 9781473348080

Book preview

PREFACE

IT has been urged by some that the study of strict Counterpoint should be begun before the study of Harmony, partly because strict Counterpoint is historically prior to Harmony, partly because the beginner’s part-writing in Harmony is generally so devoid of melodic interest. The latter criticism is due to a false conception of the aim of early harmonic study. The question of part-writing hardly enters into the scheme at the outset. The main and vitally important object is the learning of natural harmonic progression. As regards the order of study, any one who has attempted to teach strict Counterpoint first to the average student will have become quickly alive to its serious drawbacks. Good modern Counterpoint demands a sound harmonic sub-structure, and the minds of the sixteenth-century composers were only just realizing this point. The student therefore must begin by getting his harmonic basis firm. And early exercises in Harmony do not pretend to do more than this. The attention should be focused primarily on the harmonic rather than on the melodic progressions. So that at this stage the melodic interest of the parts is of secondary importance. The student is merely getting up the bare four walls of the house. Then from this harmonic foundation, which in time becomes merely a mental impression, the texture is evolved, in either a contrapuntal or harmonic style, as is appropriate in the particular case. The writing of a pianoforte accompaniment to a vocal solo generally demands a harmonic texture. The writing of an invention in the Bach style demands a contrapuntal texture. The writing of a string quartet demands both styles, and so does the writing of an independent accompaniment to a Chorus. The essence, however, of good vocal writing is that the melodic lines of each part should be varied and interesting. It is therefore somewhat unfortunate that it is the general practice to commence a study of Harmony with vocal work. But it is difficult to teach harmonic progression and correct grammar in any better way. It should, however, be realized that the results are not intended to be models of perfection in vocal texture. I have therefore thought that it would be useful to compile a set of studies in contrapuntal style to be used in conjunction with my Elementary Harmony. It is true that one cannot start with a study of contrapuntal texture, but it is also true that it may be deferred too long. I hope therefore that this book will prove a useful companion to my Elementary Harmony.

C. H. KITSON.

CHAPTER I

TWO-PART WRITING, EMPLOYING HARMONY NOTES ONLY

1. No profitable study of contrapuntal texture can be attempted until the student is conversant with the use of diatonic common chords and their first inversions, and the first inversions of diminished triads in the major and minor keys.

This chapter therefore implies this proficiency. (See my Elementary Harmony, Pt. I, up to and including ch. vii.)

2. As we are limiting ourselves to two parts, the chords will necessarily be incomplete. But the bass, or lowest part, should be figured with the harmonic implication. As, however, the harmony will be incomplete, the interval of a third or octave can imply a or . Figure