Modal Counterpoint (Palestrina Style) : Metric Structure
Modal Counterpoint (Palestrina Style) : Metric Structure
Modal Counterpoint (Palestrina Style) : Metric Structure
It is widely stated that modal counterpoint reached its peak in the music of the Italian composer
Giovanni Pierluigi da Palestrina (c. 1525-1594). The following discussion is a summary of some
important elements of Palestrinas style.
Metric structure
There are two rhythmic dimensions in Palestrina: that of a weak but present metric structure
(ONE-two-Three-four in half notes) and the accentuation of the individual parts based on
syllabic (text) accent. The tension and interaction of these two rhythmic dimensions provide
forward momentum for the music, as do the tension and interaction of vertical
(harmonic/intervallic) and linear (melodic) aspects of the pitch sphere.2
Modal approach
Palestrinas music is polyphonic and triadic, but decidedly diatonic. He adds accidentals in
keeping with a relatively conservative approach to the modal system, not unlike chant.3 For
simplicity and as an introduction to the style, we will avoid accidentals except in the cadence
formulas studied in class.
Overarching principles
Palestrina style is founded on a principle of moderation and smooth flow in all the parts. In
particular, two elements are to be handled with care:
A. Large melodic leaps arouse more attention than smaller intervals.
B. Higher notes stand out more than lower notes; hence ascending motion stands out more
than descending motion.
Dissonance treatment
The feature which represents the real essence of the evolution of style is the dissonance.4
Jeppesen cites 3 phases of dissonance treatment:5
1. Dissonance as an incidental phenomenon (organum, Ars Nova).
2. Dissonance as a musical phenomenon, in conscious, deliberately stressed contrast
to consonance. (conservative Renaissance music, Palestrina)
3. Dissonance employed as a means of poetic expression (later Renaissance, Baroque).
Since dissonance was unavoidable, Palestrina used it in a way that minimized the interruption of
the musical flow.6 Our study of Palestrinian dissonance treatment will unfold as a series of
focused exercises based on the 5 species of Johann Joseph Fux.7
1
Unless otherwise indicated, page numbers in the footnotes refer to Knud Jeppesen, The Style of Palestrina and the
Dissonance (London: Oxford University Press, 1946; reprinted New York: Dover Publications, Inc., 1970). This
essay is adapted from Jeppesen by Mark Feezell. Copyright 2003 by Mark Feezell. All Rights Reserved.
2
29.
3
Jeppesen discusses some instances of Palestrinas chromatic usage at p. 32 ff.
4
p. 293. Many other factors, such as approach to pitch structure, instrumentation, text, etc., influence style, but
dissonance treatment is indeed worthy of examination.
5
94.
6
108.
7
Expounded in his 1725 treatise Gradus ad Parnassum.
The ascending minor sixth was used because it almost always resolved downward by step to a fifth (e.g. C-Ab-G,
with the Ab decorating the motion C-G). In the case of the descending m6, the resolution was not as apparent to the
ear and so was avoided.
9
Regarded as a kind of repetition of the note without literally repeating it. See p. 209.
10
57.
11
This is in contrast to the usual practice for chant melodies, i.e. step-leap when ascending, leap-step descending.
12
An upward leap cannot be followed by larger leaps, because it calls too much attention to them. Similarly, using
smaller intervals before larger ones when descending ameliorates (softens) the striking effect of a descending leap.
See p. 74.
13
78.
14
It is altogether somewhat unusual in Palestrina that two voices move towards unison at the same time; as a rule
one is stationary while the other moves [to the unison]. p. 300.
15
Allow dissonance only when introduced in such a manner that the mutually dissonant voices do not
simultaneously proceed to the discord. Dissonance in first species is consequently prohibited. p. 108.
16
These relate to the independence of the parts. p. 300.
17
It is altogether somewhat unusual in Palestrina that two voices move towards unison at the same time; as a rule
one is stationary while the other moves [to the unison]. p. 300.
18
180.
Jeppeson, on page 180, seems to forbid dissonances on the 3rd quarter. Fux is more lenient, allowing passing
tones on the 3rd quarter if the 2nd and 4th quarters are consonant. See Fux as translated by Alfred Mann in The Sutdy
of Counterpoint from Johann Joseph Fuxs Gradus ad Parnassum, 50-51.
19
FOURTH SPECIES (h
hh h
against w
w)
1. All rules of the first three species and melodic guidelines apply as appropriate. The
species rules to follow depend on the relationship between the voices at any given time (1
against 1, 2 against 1, 4 against 1, or tied half notes against whole notes).
2. General:
a. Tied half notes may be used for consonances or dissonant suspensions.
b. You may use 2nd species as necessary, but try for as many ties as possible. When in
2nd species, follow its rules.
c. Start with a perfect consonance, even if it is an upbeat.
d. End with 7-6-8 if ctpt is above the C.F., 2-3-8 or 2-3-1 if ctpt is below the C.F.
3. Suspensions:
a. PREPARATION as a consonance on an UNaccented (weak) beat.
b. SUSPENSION holds over to become a dissonance on an accented beat.
c. RESOLUTION to a consonance by stepwise descent.
d. Avoid 4-3 suspension in 2-part writing.
4. Ties allowed in 4th and 5th species:
a.
b.
ww
c.
d.
e.
FIFTH SPECIES
Florid counterpoint; Species 1-4 combined
1. Dissonances:20
a. Dissonances should be on comparatively shorter note values.
b. Allowed on weak beats: h passing tone (PT) ( or ) or q passing tone ( only).
c. Allowed on weak qs: PT, LN, nota cambiata; portamento on 2nd q of beats 1 or 3.
d. Never leap into or out of a dissonance, except for the cambiata construction in 3rd
species, in which the 2nd and 4th notes may be dissonant (see third species rules).
e. Dissonances are resolved by conjuct (stepwise) motion (PT, LN, cambiata,
portamento, suspensions).21
f.
2. Portamento or anticipation:
a. A weak (off-beat) quarter within a metrically strong beat.22
b. Approached by step , NOT by step .
c. Anticipates a consonance on the next beat.
d. Often used with suspensions, but may be consonant or dissonant.
3. Rhythm:
a. Its better to change rhythms a level at a time. Ex: try not to move from w to q w/o h
b. Dots are often used to launch new rhythms. Ex: h . q q q q q
c. Avoid syncopation except as a suspension preparation.
d. Avoid q q h ; it is a halting rhythm. h q q is o.k.
4. Meter:
a. At least one voice, either by new note or syllable, should mark every beat.23
b. On strong beats, there must be consonance, except for suspensions.24
c. Be careful not to overemphasize the meter through rhythmic or sequential groupings.
5.
iq rhythmic pattern:
a. Always approached by step.
b. Used only to replace weak qs (off-beats).
20
Jeppesen mentions several important situations beyond the scope of this class. 1) dissonance allowed on the third
quarter only when it is a descending stepwise progression followed by a step up (120-122), (2) dissonance in noteagainst-note quarters (170), and (3) the special case of the consonant fourth (232-234). For points a, b, and d, see p.
108. See also Jeppesen, Direct Approach to Counterpoint, p. 57.
21
221.
22
184.
23
90.
24
This injunction dates back to Franco of Colognes Ars Nova of 1325, which prescribed first-beat consonances.
See p. 98.
1
2
3
4
5
8
7
6
5
4
(presumes voices within an octave; adds to 9)
At fifteenth:
6
3
7
2
1
2
3
4
5
6
7
15(8) 14(7) 13(6) 12(5) 11(4) 10(3) 9(2)
8
9(2) 10(3) 11(4) 12(5) 13(6) 14(7) 15(8)
8
7
6
5
4
3
2
1
(presumes voices within two octaves; adds to 16)
At twelfth:
1
2
3
4
12(5) 11(4) 10(3) 9(2)
8
5
25
9(2)
4
5
8
6
7
7
6