The minor seventh as an essential part of a seventh chord, and the (vertical) diminished fifth and augmented fourth were generally regarded in eighteenth-century Italy not as dissonances but as ‘false consonances’, whereby the false consonance proper —the note, not the interval— did not need to be prepared (though it could be) but had to
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Oblique motion means that one voice moves, either stepwise or by leap, while the other voice remains on the same note, whether held or repeated. The example below amply illustrates oblique motion, alongside contrary motion and similar motion. It further shows that oblique motion can The other types of contrapuntal motion are:
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Similar motion means that two voices move in the same direction, thereby changing the generic vertical interval between them. Each voice can move stepwise or by leap, independently of the other voice. The direction of the two voices can change with every note or remain the same for several notes. Similar motion tends not to
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Parallel motion means that two voices move in the same direction, thereby preserving the same generic vertical interval between them. Both voices can move stepwise or by leap. The direction of the two voices can change with every note or remain the same for several notes. In what is today commonly called ‘tonal’ music (in
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Contrary motion means that two voices move in opposite directions. Each voice can move stepwise or by leap, independently of the other voice. The direction of the two voices can change with every note or remain the same for several notes. Contrapuntal textures favour contrary motion, since it best ensures the independence of the voices.
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This essay is the second in a series exploring Johann David Heinichen’s General-Bass in der Composition. Heinichen takes four-part thoroughbass realization as his starting point, achieved in the case of a triad by doubling its fundamental note. On the harpsichord especially, this setting can be expanded into a full-voiced accompaniment by doubling further notes in
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This essay is the first in a series exploring Johann David Heinichen’s General-Bass in der Composition. Heinichen’s General-Bass in der Composition (1728) is a monumental thoroughbass treatise in German-Italian style, covering not only technical topics such as dissonance treatment, the realization of quick bass notes and full-voice accompaniment, but also many aesthetic considerations. In this
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In this essay, I discuss Telemann’s views on which note can be doubled in a sixth chord. Since Telemann advocates a generally four-part realization, he gives several guidelines as to which note can be doubled. While each note can be selected for this purpose, doubling the sixth and third is preferable, with doubling the bass
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Fauxbourdon is a contrapuntal technique originating in the early Renaissance, often resulting in parallel sixths, though not exclusively so. Today this term is frequently used in a broader sense to indicate any passage of parallel sixth chords, regardless of the musical period. Select Bibliography Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford
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The Greek term hemidiapente is used in music as a synonym for the interval of the diminished fifth, hemi meaning “half”, dia “over”, pente “five”. See also diatessaron, diapente and diapason. (Very) Select Bibliography Mattheson, Johann. Der vollkommene Capellmeister (Hamburg, 1739). Walther, Johann Gottfried. Musicalisches Lexicon (Leipzig, 1732).
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