Counterpoint

Counterpoint
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Counterpoint
(from Lat. contrapunctus, from contra punctum: against note; Fr. contrepoint; Ger.
Kontrapunkt; It. contrappunto).
A term, first used in the 14th century, to describe the combination of simultaneously
sounding musical lines according to a system of rules. It has also been used to
designate a voice or even an entire composition (e.g. Vincenzo Galilei's Contrapunti a
due voci, 1584, or the contrapuncti of J.S. Bach's Art of Fugue) devised according to
the principles of counterpoint. (See also Polyphony, I.)
1. Discant of the 13th and 14th centuries.
2. Early note-against-note writing.
3. Treatises of the 14th and 15th centuries.
4. Contrapunctus diminutus.
5. Three-part composition in the 15th century.
6. Tinctoris.
7. Composition in four or more parts.
8. 16th-century counterpoint.
9. Zarlino and aspects of dissonance treatment.
10. Galilei and his innovations, 158791.
11. 16thcentury double counterpoint.
12. The term counterpoint after 1600.
13. Theory after 1700.
14. Free style: licentious and harmonic counterpoint.
15. Bach.
16. The Classical and Romantic eras.
17. 20th century.
BIBLIOGRAPHY
KURT-JRGN SACHS (111), CARL DAHLHAUS (1217)
Counterpoint
1. Discant of the 13th and 14th centuries.
The theory of counterpoint, which existed by about 1330, developed from the older
theory of discant, but differs from it in ways that a comparison of the two makes clear.
The technique of discant occurs in two distinct forms. Works dealing with interval
succession theory (Klangschritt-Lehre) merely list possible single progressions of an
added voice for all usual successive intervals of the cantus, considering only the
consonances of unison, octave, 5th (and occasionally 4th); for example: If the cantus
ascends by a 2nd and the opposed part begins at the octave, then the opposed part
descends by a 3rd and forms [with the cantus] a 5th, or descends by a 7th and
coincides with the cantus (CoussemakerS, ii, 191). General guidelines on
compositional technique are found only in the work of Franco and his followers, apart
from traditional instructions on contrary motion (see Eggebrecht and Zaminer, 1970;
CoussemakerS, ii, 494; AnnM, v, 1957, 35). Franco was clearly concerned to
emphasize the consonant or dissonant quality of sounds in the formulation of general
statements on compositional technique, but did not go beyond individual aspects
(CSM, xviii, 6973):
Every discant is ordered by consonances Every imperfect dissonance
[major 2nd, major 6th, minor 7th] sounds well immediately before a
consonance The discant begins at the unison, octave, 5th, 4th, or
major or minor 3rd [i.e. on any of the consonances], then proceeds in
consonances and occasionally mixes them at suitable points with
dissonances, so that when the tenor is ascending, the discant is
descending and vice versa. It should be noted that tenor and discant
occasionally ascend or descend simultaneously for the sake of the
beauty of the piece and also that consonances are always used in all
[rhythmic] modes at the beginning of the perfectio [mensural unit].
Anonymus 2 tried (c1300) to analyse the role of imperfect consonances in
composition technique: Imperfect [consonances] are the major and minor 3rd, which
are good in the progression from a 5th to a 5th or from a 5th to a unison and vice
versa; and the major 6th, which is good before an octave (CoussemakerS, i, 311).
Counterpoint
2. Early note-against-note writing.
Early counterpoint diverges clearly from the theories of Franco and Anonymus 2 by
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taking only two-part note-against-note composition into consideration, thus ignoring

dissonances and, at first, note values; by changing the classification of the sounds,
apparently little, but radically, by reclassifying the 4th (which was a medium
consonance and becomes a dissonance); and by making the difference in quality
between perfect and imperfect consonances the basis of a regular system. Textbooks,
typically, list consonances, perfect and imperfect, and provide rules for their
succession.
The subdivision of consonances always leads to the contrast between the unison, 5th
and octave as perfect and the 3rd and 6th as imperfect. It is immaterial whether the
consonances are given Greek names, as happened particularly in the early stages, or
Latin names (in other words, whether 3rds, for example, were described separately as
semiditonus and ditonus or jointly as tertia); it is also immaterial whether and to what
extent intervals greater than the octave are mentioned and classified, and whether the
perfect consonances were called consonantiae and the imperfect dissonantiae (as
occasionally happened). But terminology and the number of named consonances do
give information about the traditions and phases of theory.
The difference in quality between the two groups of consonances is particularly shown
in the directions referring to important sections in the composition or to parallel partwriting: the beginning and end should be perfect consonances and the penultimate
note an imperfect consonance; parallel successions of identical intervals are strictly
forbidden with perfect consonances but emphatically recommended with imperfect
ones. This differentiation is based on the fact, remarked on by Anonymus 2, that three
consonance sequences (3rdunison, 3rd5th and 6thoctave) have particular
advantages: close melodic connections through conjunct motion, independent partwriting through contrary motion, and change in sound through the transition from
imperfect to perfect consonance (which 14th-century writers called striving:
requirere, tendere). According to the theory of Marchetto da Padova (c1318)
repeatedly taken up in the 15th and 16th centuries though without becoming the norm
in theory or practice one of the two parts was also supposed to move by a semitone,
as in ex.1. This also determined the basis of counterpoint even in contexts where
ideal sequences occur only occasionally. This happens when the theory offers, as
recommendations (mandata arbitraria), progression to nearby notes, contrary motion,
and alternation between imperfect and perfect consonances. For combinations that
respect only one mandatum arbitrarium, the strict prohibition (mandatum
necessarium) of parallel similar perfect consonances on the one hand, and the
permitted succession of similar imperfect, dissimilar imperfect and dissimilar perfect
consonances on the other, are both valid. The repetition of a note, causing oblique
motion, is sometimes permitted only in the cantus, but may be used in either part (or
even in both simultaneously, as a repeated note); it is not however the recommended
next step. On the basis of these directions, a given cantus yields a note-against-note
composition, in which 15th-century theorists required two essential qualities: first,
difference between the two parts, in the interests of which parallel progression in
similar perfect consonances, usual in polyphony of the 9th century to the 13th, was
now forbidden (If one person sings the same as the other that does not fulfil the
aim of contrapunctus; for its aim [intentio] is that what the one sings be different
[diversum] from what the other sings Prosdocimus de Beldemandis, 1412;
CoussemakerS, iii, 197); and second, indeterminate structure, ensured by the fact that
there were always several permitted consonances to choose from, and thus many
possible resolutions for the part added to a cantus (Contrapunctus is the
indeterminate setting [positio] of a single note in high or low position against a single
note in any cantus. Contrapunctus is related simply [simpliciter] and without
predetermination [indeterminate] to all settings [positiones] of high and low notes in
the musical system Ugolino of Orvieto, c1430; CSM, vii/2, p.4).
Music examples from counterpoint treatises may illustrate different features of the
method of composition. In ex.2a contrary motion is dominant; parallel imperfect
consonances are used sparingly; when one part moves by leap the other moves by
step or has a repetition; (the added part, according to some treatises, should be
restricted to the range of a hexachord). In ex.2b, parallels of up to four similar
imperfect consonances are relatively frequent; they usually lead to the adjacent
perfect consonance (as in intervals 6, 9 and 20) but can also lead to one or more
imperfect consonances of another kind (1415); simultaneous skips are not excluded
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(1011, 1516), but involve contrary motion and change of interval type.
By way of contrast in pre-contrapuntal note-against-note compositions, combinations

of unison, 5th and octave, where parallels of similar intervals are not impossible,
predominate over 3rds, which usually only serve as a bridge between unison and 5th
(ex.3); the still consonant 4th also sometimes appears, while the 6th is rare (see the
examples in Sachs, 1974, pp.1212).
Counterpoint
3. Treatises of the 14th and 15th centuries.
From the time of the earliest surviving textbooks on counterpoint, the number of
treatises on composition technique increased markedly and the term contrapunctus
quickly came into use. This was surely a matter of cause and effect; the explanation is
probably to be found in the novelty of the technique designed for note-against-note
composition. There are isolated references to a contraponchamens or
contrapointamens in the brief discussion of musical genres and polyphonic practices
in Peire de Corbiac's Provenal Tesaur (c1250), but there is no mention of the word
contrapunctus in music theoretical writings until its appearance in the new theory of
composition about 1330, since all known authors from Johannes de Garlandia
(c1240) to Jacques de Lige (c1260after 1330) used the general term discantus
when discussing composition technique.
Among the earliest didactic contrapuntal works are probably the brief piece attributed
to Johannes de Muris, Quilibet affectans (CoussemakerS, iii, 5960a), which was
widely read, and the compilation of Petrus frater dictus Palma ociosa, written c1336
(Wolf, 191314). Philippe de Vitry, too, seems to have taught counterpoint even if no
versions of the treatises attributed to him (e.g. CoussemakerS, iii, 237) can be
regarded as authentically his in their surviving form.
Most of the works on counterpoint up to the 15th century are anonymous, and it is not
usually possible to fix their dates or places of origin accurately. Treatises that help
establish a chronology for the development of the theory include Goscalch (1375;
excerpt in Sachs, 1974), Antonius de Leno (c1400; CoussemakerS, iii, 30728),
Prosdocimus de Beldemandis (1412; CoussemakerS, iii, 1939), Ugolino of Orvieto
(c1430; CSM vii/2), Johannes Legrense (c1460; CoussemakerS, iv, 38396),
Johannes Tinctoris (1477; CoussemakerS, iv, 76153), Guilielmus Monachus (c1480;
CSM, xi) and Florentius de Faxolis (between 1484 and 1492; excerpt in Seay, 1963,
p.85). The reliability of the sources increased with the appearance of printed works on
counterpoint, by Ramos de Pareia (Musica practica, 1482), Nicolaus Burtius (Musices
opusculum, 1487), Franchinus Gaffurius (Practica musicae, 1496) and others.
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Counterpoint
4. Contrapunctus diminutus.
The treatise Cum notum sit (probably mid-14th century) contains a definition of
counterpoint as nothing but a setting of note against note (non nisi punctum
contra punctum ponere vel notam contra notam ponere vel facere) and the basis of
discant (fundamentum discantus; CoussemakerS, iii, 60). Discant, the newer form
in this case, denotes the manner of composition whose basis is contrapuntal noteagainst-note composition. The second part of the treatise (De diminutione
contrapuncti) elucidates the relation between the two types of composition: since the
contrapunctus the part added to the tenor, in breves of equal length can be
divided into smaller notes in various ways, the work lists rhythmical possibilities of this
kind and illustrates them with musical examples. The examples (22, according to the
most reliable sources) all have the same tenor, and each follows a rhythmic formula;
they are all based on the same note-against-note composition, whose degree of
diminution increases systematically from example to example for each of the four
basic mensurations, as in ex.4 (the beginning of the examples for tempus perfectum
cum prolatione maiori; cited in Sachs, 1974, p.146). The work illustrates the
technique, known from other treatises, of creating a diminished version of an added
part, by filling out the breve units or by the interpolation of notes, but does not
mention the dissonances (2nds, 4ths and 7ths) that thus occur. The lack of such
comment probably does not mean that dissonance could be used freely but that its
application still lay outside the contrapuntal system. References to the use of
dissonance, however, occasionally occur in 14th- and early 15th-century counterpoint
treatises.
Petrus frater dictus Palma ociosa said that dissonances could appear briefly, by step
in ascent or descent to a consonance. According to Antonius de Leno, who allowed
note against note, two notes against one and three notes against one, the middle of
three short notes of equal length could be dissonant. Another work allows a third of a
semibreve to be dissonant (CoussemakerS, iii, 27) in the so-called cantus fractibilis.
Goscalch, who apparently knew Cum notum sit, went further, and proposed to divide
notes into parts, i.e. to sing several notes in the cantus instead of one. At the same
time he demanded observance of the rules of counterpoint and confirmed the
prohibition of parallel perfect consonances for both immediately consecutive shorter
note values, and for the contrapuntal framework. He considered that having only
consonances was impossible or very difficult and irksome, and thus assumed the
use of dissonance. He allowed dissonance even at the beginning and end of a figural
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unit, if it took up less than half the value of the figure (or, in the case of syncopation,
even as much as half).
In spite of the evident closeness in material and method of note-against-note and
figured composition, the two forms were largely separate in theory and terminology
until Tinctoris's work published in 1477 (see 6 below): most of the treatises do not
mention diminution or dissonance, and there was criticism of the extension of the
meaning of the word contrapunctus which already occasionally meant the setting of
several notes against one (see CoussemakerS, iii, 194; CSM, vii/2, 4).
Counterpoint
5. Three-part composition in the 15th century.
The first works on counterpoint that allow three-part composition were probably
written not earlier than the 15th century; they are not genuine extensions of the theory
(as was the case with contrapunctus diminutus) but simply explanations of how the
rules of two-part note-against-note composition should be applied to an increased
number of voices. Since the intervals between various pairs of parts have to be
considered and coordinated in three-part composition, the theories deal with problems
liable to occur when the norms of two-part composition are applied. Most importantly,
the basic rule of allowing only consonances in note-against-note writing must be
observed, but with two precautions.
First, since two added parts can be mutually dissonant although each must be
consonant with the tenor, thus corresponding to the norms of two-part composition,
the books warn against the 2nd created between two added parts respectively a 5th
and a 6th above the tenor (CoussemakerS, iii, 93), the 9th resulting from 5ths
simultaneously above and below a tenor, and similar combinations (see Sachs, 1974,
p.127). Second, because two added parts, each consonant with the tenor, often form
a 4th, which in two-part note-against-note composition has to be avoided as a
dissonance, treatises indicate the possibility of using the 4th in three-part noteagainst-note composition as long as it remains hidden (Gaffurius, iii, 6) by not
involving the bottom part (CSM, xxii/2, p.27).
Some texts list the possible complementary notes for the contratenor as well as all the
usual consonances of tenor and discant (CoussemakerS, iii, 935, 4656). This
clumsy method, which in the 16th century even stretched to a fourth voice, shows that
general principles of composition had hardly been formulated. Warnings against
unison and octave as equal or equivalent consonances between the added parts
are rare (CoussemakerS, iii, 92), but show that even then there was a preference for
complete sounds.
The rules for the sequence of consonances in two-part composition remained valid for
an increased number of parts. Theory was, however, not consistent about the
prohibition of parallel 5ths. The permitting of 4ths was based on their incidental
creation (between added voices) and this covered parallel 4ths as well (although these
are seldom mentioned, and only in the technique of Fauxbourdon; CSM, xxii/2, p.27;
CSM, xi, 39; Gaffurius, iii, 5). From there it would have been a small step to concede
the analogous parallel 5ths, which could be explained as caused by the inversion of
added parts. Occasionally they were indeed permitted (CoussemakerS, iii, 466; CSM,
xi, 423), and that may justify phrases such as the one in ex.5. But other texts forbid
parallel 5ths (CSM, xxii/2, pp.1478; Sachs, 1974, p.131); this latter position gained
acceptance probably because a difference between primary and secondary
composition, although theoretically useful for chord construction, was subordinate to
the general compositional viewpoint where rules of progression were concerned.
Standards for the melodic structure of the individual parts varied in their strictness:
discant and tenor should avoid leaps of 6ths and 7ths while the contratenor was
allowed not only these but even sometimes a leap of a 9th. The special character of
the contratenor is based on the concept of the successive composition of parts
customary in the 15th century, for which Burtius (ii, 5) gave two possibilities: first
cantus (supranus), then tenor, and lastly contratenor; first tenor (usually as a given
cantus planus), then superius, and lastly contratenor.
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The contratenor, which is thus added to a discant and tenor framework, was in the
first instance a filler (pro replecione sonorum seu vocum; Sachs, 1974, p.131). The
added character of the contratenor is also to be seen in the typical endings (clausulas,
conclusiones) that theorists had fixed for the parts since about 1500. The formulae for
discant and tenor reach the final note (ultima) ascending or descending by step to
produce the 6thoctave progression (ex.6ac). The contratenor, on the other hand,
normally a 5th below the tenor on the penultimate note, moves to one of the possible
perfectly consonant final notes, forming an octave leap (ex.6a), 4th leap (ex.6b), or
falling 5th (ex.6c) cadence. Only when the tenor cadences by descending a semitone
to mi does the contratenor, in order to avoid a diminished 5th, take the 3rd below the
tenor on the penultimate interval and close on the 5th below (ex.6d). The
antepenultimate interval, which contemporary examples also include, varies within
certain limits.
A particular 15th-century three-part technique is found in those compositions where

two parts constantly run in similar imperfect consonances between the first and last
note, while a third, usually the contratenor, has complementary notes or also takes
part in the parallel progression. Guilielmus Monachus described and provided
examples of such patterns (see Sachs, 1974, pp.132ff): with parallel 3rds (ex.7a, b),
and 6ths (ex.7c, d), where the contratenor either alternates between the unison and
5th (ex.7a, c), or between the lower 5th and lower 3rd (ex.7b, d); with parallel 10ths,
between which there is a middle voice, either written in parallel 6ths or 5ths (ex.7e),
or which progresses like a cantus firmus in fairly long note values (ex.7f); or with
simultaneous parallel 3rds and 6ths (ex.7g). These patterns, which considerably
simplify the construction of three-part texture, have advantages for textbook purposes
and for practice in improvisation, but have little value for composition.
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Counterpoint
6. Tinctoris.
The most tightly knit, comprehensive and important 14th- or 15th-century treatise on
counterpoint is Tinctoris's Liber de arte contrapuncti (1477). Counterpoint is here
described as restrained and thought-out polyphonic composition created by setting
one sound against another (moderatus ac rationabilis concentus per positionem
unius vocis contra aliam effectus; CSM, xxii, 2, p.14). It divides into contrapunctus
simplex (note against note) and diminutus (several notes, of either equal or varying
length, against one), and can be extemporized (mente) or written down (scripto). But
Tinctoris called the improvised form straightforward (absolute) counterpoint (or super
librum cantare), and the written form res facta or cantus compositus (CSM, xxii/2,
pp.105ff). This terminology unknown before Tinctoris and used afterwards only with
reference to him should not be taken to imply that the aim of the theory of
counterpoint was improvisation. Tinctoris seems to have wanted to emphasize
something else: that, particularly in composition for more than two voices, the result of
an improvisation relating several parts contrapuntally to a given tenor (CSM, xxii/2,
p.110) differs from carefully planned composition; the inevitable lack of strictness in
improvisation is a concession, not the aim of counterpoint.
In the first part of his treatise Tinctoris gave a basic description of the consonances
and their relations in contrapunctus simplex. The tenor and the added part both
progress either by step, or in leaps of a 3rd, a perfect 4th and a perfect 5th. The
second part is a survey of the dissonances and their systematic application in
contrapunctus diminutus.
According to Tinctoris, the correct use of a dissonance depends on its rhythmic and
melodic position. The yardstick for the rhythmic position of a dissonance is the note
value determining the basic movement of a musical piece, which Tinctoris called
mensurae directio (or nota, secundum quam cantus mensuratur; CSM, xxii/2,
pp.12438); Adam of Fulda called this value, acting as a pulse or beat, tactus (1490;
GerbertS, iii, 362), and 16th-century Italian theory called it battuta. In prolatio maior
(ex.8, bars 17) it is the minim (transcribed as a crotchet), in prolatio minor (bars 9
11) the semibreve (transcribed as a minim), and in proportions the equivalent of those
values. Tinctoris used the fact that both values are divisible by two in the respective
mensurations to formulate three basic rules for the rhythmic values of dissonances
(ex.9).
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First, if the first part of a mensurae directio () or the beginning of the first and second
parts () is consonant, a dissonance of equal and smaller value can follow. This rule
covers unstressed dissonances, whose maximum length corresponds to the
consonant part of a mensurae directio. Unstressed dissonances can occur anywhere
in the composition, but stressed dissonances (i.e. those falling on the beginning of a
mensurae directio, which appear only as prepared suspensions resolved by stepwise
descent) are for Tinctoris always designed to prepare for an immediately following
final sound (perfectio or conclusio). This is usually restricted to perfect consonances,
unless it concludes an internal section and simultaneously opens a continuation (as in
ex.8 where F appears in parentheses). Because syncopated dissonances are thus
dependent on a cadence, Tinctoris's other rules are both related to properties of the
penultimate note in a phrase of the tenor.
Second, where there is a penultimate note equal in value to two mensurae directio,
consisting either () of a single note or () of two notes identical in pitch and length,
the first part of the first mensura nearly always has a dissonance set against it. Third,
if the penultimate is equal in value to one mensurae directio, then the first part () can
be dissonant, or, when preceded by stepwise descending notes of equal value (),
the first part of each note can be dissonant (ex.9). Since Tinctoris formulated rules of
dissonance according to the greatest permissible value in each case, it is not
surprising to find that the rhythmically short formulae of prolatio maior also occur in
prolatio minor (in parentheses in ex.8).
As regards melodic position, Tinctoris confirmed that each dissonance is preceded by
an adjacent (stepwise) consonance, and the following note will be a 2nd or very
rarely a 3rd away (ex.8, bar 4). When a dissonance is introduced and left by step, one
should not return to the starting note unless the dissonance is so short that one can
hardly hear it (CSM, xxii/2, p.141); thus, in Tinctoriss examples the nota cambiata
usually appears as the fusa, while the passing notes are also minims and
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semiminims. The leap of a 3rd from a dissonance is less rare in Tinctoris's examples,
and in 15th-century music in general, than his book suggests, and it also occurs
descending from a syncopated dissonance. Occasionally the leap of a 4th also occurs
after a dissonance, but usually it is a substitute for a cambiata (ex.8, bar 1: leap to the
3rd above instead of a return to the pitch of the preceding note, which appears in
another part). The eight general rules of the third part of Tinctoris's treatise offer both
traditional norms (but often modified for composition in more than two parts) and more
general recommendations about the wider context of composition (its structure and
varietas); they are neither as concrete nor as important as the dissonance rules,
however, which for the first time make possible an understanding of the period's
compositional techniques.
Counterpoint
7. Composition in four or more parts.
The acceptance into theory of four-part note-against-note composition was another
extension of contrapuntal apportionment: intervals between discant and tenor were
filled out by the addition of two parts. The bottom part takes precedence, since it must
avoid the formation of 4ths (while making them possible between other parts by
supplying a 3rd or a 5th), and it is sometimes more precisely determined (e.g. the
penultimate note is usually a 5th below the tenor). The lists and tables customary
since Aaron (1523), who enumerated possible four-part note formations, usually
follow the order discanttenor, bass, alto; but they illustrate only the process of
contrapuntal disposition of the individual chord. The old method of working out the
parts in succession fell into disuse during the 16th century; as Aaron confirmed, the
moderni considered all the voices simultaneously, thus improving consonance
formation and part-writing, and avoiding unsatisfactory unisons, rests or leaps. The
catalogue of chords strictly avoids secondary dissonances and 4ths in the bottom
part, of course, and favours complete formations (in the sense of full triads).
As early as Cochlaeus (14791552) there are examples showing the typical
concluding formulae of the parts (see ex.6), including the quarta vox (altus); they
show the interchangeability of the formulae between the parts (ex.10). In general, four
was the maximum number of voices in 16th-century contrapuntal theory and four-part
writing was the highest form of compositional technique illustrated by examples of
figural music. Gaffurius mentioned the creation of a fifth part according to the rules of
counterpoint (iii, 11), and Tinctoris used it in an example (CSM, xxii/2, pp.107ff).
Florentius de Faxolis contrasted the two-part counterpoint of the veteres with the
composition of the moderni for three to six or more parts, which he described as
composition, i.e. the contrapuntal method, extended to several voices (Seay, 1963,
p.87). Even though writers discussed instances of going beyond four-part
composition, they did not deduce from them any new aspects of theory.
Counterpoint
8. 16th-century counterpoint.
The development of contrapuntal theory in the 16th century consisted, first, of a
drawing together of contrapunctus simplex, contrapunctus diminutus and composition
for more than two voices, often still separate in the 15th century; second, an
expansion of matters treated to include, particularly, the modes, techniques of
imitation and inversion, and the relation between text and music; and third, improved,
more precise rules for the use of dissonance. This development reached its peak in
the third book and part of the fourth of Zarlino's Le istitutioni harmoniche (1558), the
most comprehensive and influential 16th-century work on counterpoint. It contains the
best and most refined analysis of the composition technique used in sacred music,
particularly at the time of Willaert, Zarlino's teacher; and it surpasses Willaert's other
pupil Nicola Vicentino's ingenious, somewhat earlier but in many respects very similar
L'antica musica ridotta alla moderna prattica (1555), both in clarity and in detail.
Almost all the many, usually printed, 16th-century works on counterpoint relate to the
prima prattica style. The first two attempts to incorporate innovations from secular
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vocal music into the theory were thus all the more pioneering: Vicentino used
chromatic madrigals as examples and recognized liberties (in progression, harmony
and mode) justified by text meaning or the affect of the words; and Galilei discussed
and defended freer uses of dissonance.
Counterpoint
9. Zarlino and aspects of dissonance treatment.
The arte del contrapunto as the theory of polyphonic composition was for Zarlino the
centre of musica pratica and at the same time the most comprehensive amalgam of
themes in all music theory. Zarlino not only considered in detail all traditional aspects
of counterpoint but also tried to define additional requirements and conditions of
polyphonic composition. The soggetto, or thematic subject, is composition's point of
departure, without which one can create nothing (iii, 26), and which can consist of a
given or newly created cantus firmus, cantus figuratus or even several imitative parts.
The soggetto influences the choice of church mode, and that in turn affects the
coordination of parts. The mode of the tenor, which determines the tonality of the
composition, is usually shared by the soprano in four-part composition, while the bass
and alto take it over with changed compass (plagal instead of authentic, or vice
versa); and this corresponds to a difference of almost an octave between the ranges
of the two pairs of parts (illustrated in ex.11 on the basis of the combination of
soprano, alto, tenor and bass clefs frequent in Zarlino).
The restrictions on mode and compass affect imitative technique, harmonic structure
and cadence formation. Zarlino divided up the possibilities for imitation according to
whether the leading (guida) and following (conseguente) parts have equal or
differing interval patterns. The former he called fuga (whose entries could be at the
octave, 5th, 4th and unison), the latter imitatione. Both fuga and imitatione could
follow the canon strictly (as legata) or move freely (as sciolta) in its continuation,
and take up either some or all of the parts (iii, 545).
The principle of harmony was to create consonances by combining 3rd and 5th (or
6th), or their equivalents in other octaves, to make a harmonia perfetta, or, in modern
terms, a triad. Zarlino considered the triad with a major 3rd more perfect than that with
a minor 3rd, and declared that, while successions of many triads with major 3rds
were harmless, those with minor 3rds had a very melancholy effect (iii, 31).
Each mode had its own final notes for the normal cadences (iv, 18ff). The breaking up
of a composition by cadences which, like the full stops in a sentence, created
resting-points and marked off the sense, was an important part of the layout (iii, 51).
The cadences, which normally used syncopated dissonances, separated sections of
the text from one another and made possible musical variety and change in the
successive parts of a composition; they could, however, also be deliberately avoided
(fuggir le cadenze) in favour of a larger context if one part avoided by a leap or a rest
the expected (perfect) consonance (as indicated in ex.12a).
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Zarlino's teaching was aimed at four-part composition, which contained all perfection
of harmony. This concept of perfection explains why Zarlino tried to describe the
characters of the parts by comparison with the four elements: the bass, as the earth,
was the deepest voice, often slow-moving, and carried the harmony; the tenor was
the equivalent of water (it surrounded the bass and ruled the composition as
regards the combination of modes); the alto was the air, and mediated between tenor
and soprano (fire), in whose glow it shone; the soprano, as the highest, most stirring
and most powerful voice, was like the life-giving fire of the sun (iii, 58).
Zarlino required that the music should suit the character of the words, and related this
problem to the ordering of modes and to particular affects (iv, 32). For text underlay
he made a set of rules which may be summarized as follows. The length of a syllable
shall be reflected in the corresponding note value or values. Notes with their own
syllable include, always, the first and last note of a piece or a section and the first note
of every ligature, and usually every non-tied note of greater value than a semiminim
or crotchet (exceptionally a semiminim, after a dotted minim), but never notes of
smaller value than a semiminim, or the dot after a note. A change of syllable can
normally occur only after notes of value larger than a semiminim, except that it may
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follow a semiminim after a dotted minim. Repetition of words is permitted in cantus

figuratus (but not in cantus firmus), as long as the repetitions consist of meaningful
phrases, not just individual words or syllables (iv, 33).
Zarlino's rules for dissonance mostly use the simplest forms of exercise, in which two
minims, four semiminims or a minim and two semiminims in the added part each
sound against one semibreve of the soggetto, and also consider the suspension (see
ex.13). First, since two minims occur on the downbeat (battere) and the upbeat
(levare) of the semibreve tactus (battuta), and are correspondingly prominent, both
shall be consonant; unstressed notes may be dissonant only in stepwise ascending
or descending sequences of minims. Second, the first and third semiminim in a group
of four must likewise be consonant, while the second and fourth may be dissonant in
stepwise progression. Third, the first of two semiminims may be dissonant where they
both descend by step after a stressed minim (or a syncopated semibreve); Zarlino's
example (ex.12b) indicates that this licence is based on the elementary character of
the three-note melodic formula, which, depending on the following note, either fills a
descending 4th (x) or embellishes a 2nd (y), for both consonant (C) and syncopated
dissonant (S) uses are normal. Fourth, for normal suspensions, Zarlino required
consonant preparation and stepwise descending resolution, which he illustrated by
decorative figures with note repetition (which Jeppesen called Portament; see ex.12c
at P) and paired fuse (quavers). He also discussed special cases; in particular he
permitted preparation by a 4th above the lower part (iii, 61; Jeppesen, quarta
consonans) and under some circumstances the irregular resolutions of 2nd into
unison and of 4th into the diminished 5th (iii, 42).
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Zarlino's directions on the rhythmic structure of the composition and of individual parts
are also instructive. The beginning must always be on the downbeat. If a part entered
later, it should be after at least a minim pause (often with a syncopated semibreve).
The rhythmic movement should not be too fast at first so that it could gradually speed
up; it was best for the acceleration to be achieved by transition to the next smaller
note value. The introduction of semiminims after a semibreve should coincide with the
levare, not the battere (iii, 45; ex.13b). In two-part composition with a soggetto in
semibreves Zarlino made a strict distinction between two positions of the dotted minim
and semiminim group: he used the stressed position only at the beginning (ex.13c,
), while the unstressed position is used both in the middle of the piece and, after a
rest, at the beginning ().
The many details on composition technique mentioned by Zarlino are essential for the
examination of prima pratica works; but they are not quite complete. Two figures
should be mentioned, each of which contains a characteristic freedom in the treatment
of dissonance, which in modern terminology is with confusing ambiguity called
cambiata.
The first of these is a five-note group consisting of four semiminims descending by
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step, the second and third of which are dissonant, followed by a step upwards. This
formula is usually part of a cadence and goes with the preparation for a suspension.
What is probably the oldest description of this usage, by G.M. Artusi (L'arte del
contraponto, i, 1586; see ex.14a), stresses its very good effect. It is unlikely that
Stephano Vanneo was referring to this when he prescribed the consonance of the first
and last of four semiminims as the norm (Recanetum de musica aurea, 1533). Berardi
called the irregularly dissonant third note a cambiata (Miscellanea musicale, 1689),
and Jeppesen termed it a relatively stressed passing dissonance.
The second consists, mostly, of four notes: an unstressed semiminim dissonance

leaping down to the lower 3rd; the upper 2nd precedes it and usually follows the leap
in order to balance it out. It appeared in various textbook examples (often in Tinctoris;
ex.14b is from Pontio, Ragionamento di musica, 1588), but there is no known
description of the usage in 16th-century treatises. Popularity and freedom in
dissonance treatment seem to be based on the good style of its melodic outline, as in
the formula shown in ex.14b: the ascending form is rare, but the descending form
occurs in both dissonant (the progression is usually 875) and consonant (653;
ex.14c) contexts, and can even appear, rhythmically extended and metrically
displaced, in a part that continues with the resolution of a suspension (ex.14b, at
broken bracket). Fux (Gradus ad Parnassum, 1725), Jeppesen and others called the
semiminim irregularly leaping from a dissonance cambiata; Merritt described it as a
changing note group. (See also 13 below.)
Counterpoint
10. Galilei and his innovations, 158791.
Galilei's treatises contain the first systematic attempt to accommodate the theory of
counterpoint to the recent innovations in composition technique, attributed particularly
to Cipriano de Rore and proclaimed by Monteverdi in 1605 as the hallmarks of
seconda pratica. These innovations are in effect liberties in dissonance treatment and
are based on the view that dissonances are not only passing formations, dependent
on consonance, but themselves carry musical expression. Galilei particularly enriched
composition theory by allowing the following means of making dissonances more
urgent, sharper and more surprising (see Palisca, 1956, and Rempp, 1980).
First, in a conjunct sequence of four semiminims, two (apart from the forms in exx.13a
and ex.14a) can be dissonant in any position, and occasionally three can be
consecutively dissonant (ex.15a, b). Second, suspensions, apart from the forms in
exx.9 and ex.13a, can be resolved by leap to a consonance (ex.15c), by progression
to a new dissonance (ex.15d), by ascent to a consonance (ex.15e) and, apart from
the form in ex.14b, simultaneously with a chromatically progressing added part
(ex.15f); they can occur several at once (ex.15g). Third, dissonances can also
sometimes occur in the stressed position without syncopated preparation if a regular
resolution follows (ex.15h, i).
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Counterpoint
11. 16thcentury double counterpoint.
Within the context of their imitative and canonic techniques, Vicentino and Zarlino also
discussed the systematic transposition of parts in composition to other keys, which
they called contrapunto doppio (Vicentino also used the term compositione doppia, iv,
34). They thus gave out for the first time a method (considerably older, no doubt) of
producing especially artificial forms of counterpoint (Zarlino, iii, 56). This technique
requires an understanding of the harmonies and progressions that can occur in
various forms of composition. The knowledge of the respective complementary
intervals is fundamental: for harmonic intervals of the same kind in the basic (Zarlino:
principale) and in the inverted version (replica) always complement each other to
make the inversion interval. In its simplest form, an octave exchange of the upper
and the lower part, the intervals 3rd and 6th (imperfect consonances), 2nd and 7th
(dissonances) and the unison and octave (both perfect) are paired complementary
intervals. This kind of counterpoint is thus much the most productive and needs no
special theory. The possibilities of transposition at the 12th and 10th are more limited
but can also well be used; Zarlino especially used them, even within the same piece
(see ex.16). The complementary intervals for double counterpoint at the 12th and
10th are easily derived by ensuring that the pairs of figures add up respectively to 13
and 11 (thus a 3rd and a 10th, for example, will form double counterpoint at the 12th).
It is thus possible to deduce the contrapuntal conditions for ex.16a, which may be
inverted in either way: the consonances of unison, 3rd, 5th, octave and 10th (and
12th) remain consonant; in order to avoid unacceptable parallels the piece must
progress in contrary motion or leap consonantly in oblique motion; passing
dissonances are possible, but not suspensions. As a further form the authors also
taught the transposition of both parts in inversion (ex.16d). In this case all the
changes in interval of the principale remain intact in the replica. The restriction on
composition technique consists in the fact that melodic formulae that are persuasive
only in one direction (ascending or descending) are to be avoided.
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Counterpoint
12. The term counterpoint after 1600.
Counterpoint has been used to convey different meanings in literature on music and
music theory from the 17th century to the 20th. The enumeration of these meanings is
essential if confusion is to be avoided. First, the concept of counterpoint has been
equated with the art of strict composition (J.P. Kirnberger, 17719), thus being used
to describe regulated part-writing regardless of whether the style is polyphonic or
homophonic (counterpoint is a technical category, polyphony a stylistic concept).
Second, more narrowly, counterpoint has been taken to refer to the technique of
polyphonic, as distinct from homophonic, writing. Third, still more narrowly, the
concept of counterpoint has been confined to the technique of vocal polyphony before
1600 (and in addition Bach's instrumental polyphony). Fourth, a number of 20thcentury theorists have proposed a distinction between polyphony, the combining of
equal voices, and counterpoint, a type of writing in which the voices are brought into
relief against each other functionally and by virtue of their relative importance.
Generally, however, polyphony has been used to refer to matters of style or
aesthetics, and counterpoint to refer to matters of technique: polyphony is an end,
counterpoint a means.
The assumption that the theory of counterpoint deals with the horizontal and that of
harmony with the vertical dimension of music is as trivial as it is misleading. In the
study of harmony, it is not just the structure of chords but also their progressions that
must be dealt with; and similarly, in the theory of counterpoint it is a question not only
of melodic part-writing but also of the chords formed by the parts. Second, the stylistic
aims of counterpoint which are directed to the simultaneous deployment of
characteristic melodic parts should be distinguished from the technical problems a
composer must solve in order to realize these aims, above all in the regulation of
simultaneities (joining consonances together, manipulating dissonances). It is the
technical rules rather than the stylistic maxims that primarily constitute the subject for
study. (A guide to contrapuntal or polyphonic style, such as that of Kurth, 1917, is not
to be confused with a work of technical instruction.)
The historians' idea that an epoch of counterpoint can be identified as distinct from an
epoch of harmony, with the year 1600 representing the dividing line between the two,
came about through lack of conceptual clarity. If harmony is understood as referring
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to a regulated joining together of simultaneities and there is nothing to justify the

restriction of the concept of harmony simply to tonal, chordal harmony then music
before 1600 also bears a harmonic imprint, even if of a different kind from that of later
music. Kurth's assertion that early counterpoint was based on mere intervallic
compatibility, and hence that the technique of joining together simultaneities fulfilled
only the negative aim of avoiding perturbations in the linear exposition and thus of
avoiding obtrusive sequences of consonances or conspicuous dissonances, is
mistaken: it is contradicted by the fact that the progressions (in contrary motion) from
the major 6th to the octave, from the major 3rd to the 5th, and from the minor 3rd to
the unison, were reckoned to be especially clear and compelling, and were thus
understood (comparably with the progression from the chord of the dominant 7th to
the tonic triad in tonal harmony) as harmonic phenomena. Harmony before 1600
differs fundamentally from that of later times: earlier harmony proceeded from twonote intervals and not from three-and four-note chords (a three-note simultaneity was
considered a secondary combination of intervals rather than a primary entity in itself);
and tonality was shown less by chordal sequences than by melodic formulae.
Kurth's hypothesis that the linear polyphonic deployment of melodic parts was
inhibited by tonal harmony is not wholly erroneous, but a distortion of the truth.
Aesthetically it may be correct, in the case of narrowly restricted musical perception,
to say that attention is directed either to the phenomenon of harmony and sonority or
to that of melody and polyphony; and no doubt many composers have drawn the
conclusion that in order for music to remain in the realm of the comprehensible either
harmony or counterpoint must come to the fore. But strictly speaking the contrary is
true: the fact that chord progressions constitute musical continuity and
comprehensibility frees the part-writing from the necessity to take account of aspects
that would be indispensable in composition consisting of interval sequences. Thus the
harmonic and tonal basis of free style is not technically an impediment to linearity but
a prerequisite for the unrestricted deployment of the melodic in music. Bach too
contrary to Kurth's interpretation of his simultaneities as mere resultants conceived
harmonic tonality as a support for melodic linearity.
Counterpoint
13. Theory after 1700.
Counterpoint theory, which until the 17th century was the only kind of instruction in
composition, has had to share its dominant position with harmony theory since the
18th century; and the relation between the two disciplines has become increasingly
complicated. Free composition appears in the work of many theorists as practical
harmony and in the work of others, by contrast, as licentious counterpoint; it is
possible on the one hand to conceive of the (theoretical) study of harmony the
awareness of the harmonic significance of notes as a prerequisite for strict writing,
and on the other to conceive of strict writing the foundation on which free
composition as a set of permitted departures is built as a prerequisite for the
(practical) study of harmony.
As a didactic discipline, counterpoint has been justified both speculatively and
pragmatically. Fux and Padre Martini were convinced that the norms of strict
counterpoint were founded in the very nature of music, which, though it might be
transformed by changing styles and fashions, was not to be destroyed (free style was
understood as a permitted departure from strict style rather than as a suspension of it).
In contrast, since the later 18th century the rules of counterpoint have been seen as
historically specific, hence alterable, norms (and the nature of music has been sought
in the rudiments of harmony); they were taken over either in order to avoid a break in
the continuity of the development of the style of sacred music (Albrechtsberger) or in
a revivalist spirit (Bellermann). Since the break with tradition that occurred around
1910, the custom of continuing to teach counterpoint in the Fuxian manner is
generally justified by arguing that it is pedagogically necessary to discipline musical
thought by means of exercises in dead material. (No other style can be codified to
the same extent as can the technique of Palestrina.)
The distinction between strict and free style, which contrapuntal theory since the 17th
century has taken as its starting-point, can be explained by constructing (in Max
Weber's sense) antithetic ideal types: complexes of characteristics which cohere
closely and clearly, but also contrast with the characteristics of the other type. Strict
style is the older type, passed down from the 16th century, and typical for church
music (in Catholic regions); it is based on cantus firmus, is modal in character, and
proceeds from two-part writing; the cohesion of its sounds comes from interval
progressions; parallel perfect consonances are stringently prohibited and rigorous
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rules are formulated to govern dissonances and false relations; the didactic method is
the system of five species. Free style is the later type, originating in the 17th century
and constantly evolving, and typical for chamber or theatre music; it is based on
superposed two-part writing (Hindemith, 1937) between melody and bass, is tonal
and harmonic in character and proceeds from four-part writing, from the chord as the
primary datum; the cohesion of its sounds comes from chord progressions; there are
looser regulations forbidding parallel perfect consonances and governing dissonances
and false relations; didactically, rhythmically differentiated counterpoint is developed
from note-against-note writing by means of figuration.
Although the ideal types of strict and free style are scarcely encountered in their
actual form in the history of music theory most theorists have tried to find some
compromise because, while respecting the tradition of strict writing, they have not
wanted to neglect the apparent requirements of the day the antithetical presentation
is necessary: it serves as a point of reference among the confusion of doctrinal
opinions, and even constitutes a criterion for the assessment of contrapuntal theories,
since logical flaws almost always result from deviations from ideal types. When, for
instance, Albrechtsberger postulated that one should conduct a harmonic and tonal
analysis of a cantus firmus before building a counterpoint on it, it is, strictly speaking,
not understandable why he should have started out from two-part writing, hence from
an incomplete and therefore technically more difficult presentation of the harmony,
instead of beginning with four-part writing as did J.S. Bach and Kirnberger. And when
Dehn held that in strict three-part writing a dissonant suspension was a relationship
not to another note, but to a chord (2/1883), he was led by the bias of 18th- and 19thcentury listening habits to ignore fundamental principles of intervallic writing, and his
mistake has technical consequences.
Strict style contrappunto osservato was codified by Fux in a form whose didactic
merits sufficed to make his Gradus ad Parnassum (1725) a classic textbook for at
least two centuries. If Fux consequently appears as the founder of a pedagogic
tradition, the content of his book represents the inheritance of a tradition reaching
back to Zarlino. The prohibition of hidden parallels, most simply formulated in the
tenet that a perfect consonance must be reached by contrary motions, has been
expressed in the form of four rules (contrary motion from one perfect consonance to
another; unrestricted motion from a perfect consonance to an imperfect consonance;
unrestricted motion from one imperfect consonance to another; and contrary motion
from an imperfect consonance to a perfect consonance) since the time of Diruta
(1609). However, the prohibition held good only for the outer parts, although theorists
often laid down stricter regulations. The classification of the rhythmic relations
between cantus firmus and counterpoint into five species (note against note; two
notes against one; four notes against one; syncopation in the second voice;
contrapunctus floridus) can be found as early as 1610 in Banchieri's Cartella musicale
(1610). This scheme, often criticized and ridiculed as pedantic, has been perpetuated
with a pedagogically motivated tenacity; it is hardly reconcilable with the historical
reality of Palestrina's style, which provides less an example of cantus firmus
composition than a way of writing based on pervasive imitation between textually
characterized, rhythmically differentiated parts. The relatively stressed passing
dissonance lasting a semiminim (crotchet), permissible in certain cadential formulae in
Palestrina's style, was referred to by Berardi (1689) as nota cambiata, since the
consonance and dissonance change their usual places on the stressed and the
unstressed beats (ex.17a). Fux, on the other hand, used the concept of cambiata
(Fux's appoggiatura) to refer to a dissonance that leaps down a 3rd, whose orthodox
resolution, as Jeppesen has it (1925), is immediately retrieved with a rising 2nd
(ex.17b).
The Fux tradition so much predominated in the teaching of strict style during the 18th
and 19th centuries (it constituted the rudiments of the study of composition for Haydn,
Mozart and Beethoven) that other systems can claim any raison d'tre only by virtue
of their departure from his system in certain essential features: at first with
compromises between strict writing and free, then later (from the middle of the 19th
century) with the tendency to historicize. Albrechtsberger (1790) emphasized that
harmonic and tonal examination of the cantus firmus should be undertaken before
counterpoint is written; Cherubini (1835) renounced the church modes; Sechter
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(1854) regarded writing for two or three parts as reductions of four-part writing, which
was his starting-point.
If, in consequence, strict counterpoint moved nearer to free style in the late 18th
century and the early 19th through attempts to assimilate it into the changing
practice of the ecclesiastical style, whose theory was moulded by it the exact
opposite happened during the 19th century when the combination of historical
awareness in contrapuntal theory (Bellermann, 1862) with revivalist endeavours in
compositional practice (Haller, 1891) led to a tendency to see the rules of counterpoint
in a narrower, stricter light. It was desired to re-establish, both in theory and in
practice, the technique of Palestrina, the classical ecclesiastical style, exactly (to
quote Ranke's historiographical dogma) as it actually had been. Traditionalism, with
its unconscious traffic between past and present, yielded to a historicism motivated
partly by philology and partly by aesthetics. In the 20th century, after the decline of
the Cecilian movement, strict style became petrified into musical mental exercises in a
dead language the Latin of musical instruction. The apparently indispensable
didactic considerations cannot always be wholly reconciled with historical endeavours
to give a precise description of Palestrina's style: even Jeppesen's textbook (1930), a
paragon of pedagogic exposition by a historian, results from an (unacknowledged)
compromise.
Counterpoint
14. Free style: licentious and harmonic counterpoint.
In spite of secondary changes, the theory of strict style is essentially that of a narrowly
confined technique of composition, historically speaking, the style of Palestrina;
however one interprets the system of rules as a norm grounded in the very nature of
music, as a body of dogma attaching to a historical style, or as rules of the game for
didactic exercises it is unequivocally certain to which fragment of musical reality it
relates. The concept of free style, on the other hand, is a catchment area for extreme
varieties of style that have primarily in common a negative characteristic, their
departure from the norms of strict style. The usual procedure (in appendixes to
textbooks on counterpoint or in the instructions for part-writing in practical textbooks
on harmony) of describing free style solely in terms of its permitted deviation from
strict style, instead of apprehending it from within, in the form of an ideal type,
according to its own postulates, has arisen for a number of reasons; such description
seems a deficiency, albeit an excusable one. It results, first, from the practice of
isolating harmonic theory from the theory of counterpoint, from the splitting up of the
rudiments of modern compositional technique into two disciplines; second, from the
difficulty of extracting from a conglomerate of styles a single internally (and not simply
in a negative sense) coherent system of rules; third, from the fact that even individual
styles (such as Bach's counterpoint) cannot be so exhaustively, precisely and
synoptically codified as can the technique of Palestrina; and finally, from the
observation that the laws governing the evolution of counterpoint from the 17th
century to the 20th have consisted in counterpoint's progressive emancipation from
the norms of prima pratica. (Compare this with the 15th and 16th centuries, when the
course of development was precisely the opposite: from a less rigorous to a stricter
regulation of composition.)
The stile moderno of the 17th century, which included the monodic, the concertante
and the madrigal styles (as did Monteverdis term seconda pratica), was founded, on
the one hand, as licentious counterpoint, on the transgression of the norms of strict
style a transgression grounded in the tendency to emotional expression and pictorial
or allegorical word-painting. On the other hand, as harmonic counterpoint, it was
distinguished from the prima pratica of the 16th century and from the ecclesiastical
style that preserved that tradition by being rooted in tonal harmony. However,
licentious counterpoint ought not to be equated simply with harmonic counterpoint: not
every deviation from contrappunto osservato is motivated by tonal harmony. The bestknown such deviations the irregularities in Monteverdi's madrigals, abominated by
Artusi, and seen by Ftis as the earliest document of modern tonality arise from
other causes. The downward leap of a dissonant suspension from a 7th to a 3rd (as in
ex.18) is in Monteverdi an expressive figure that owes its pathos to its striking
departure from the rules of strict writing, but this licence cannot be interpreted in terms
of tonal harmony (one cannot speak of movement within the chord). Bernhard
(c1657) explained this figure, which he considered among the tools of musical
rhetoric, as a heterolepsis (a recourse to another melodic part): the upper voice
changes its usual resolution, the 6th, for the 3rd, which really belongs to the middle
voice.
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After its uncertain beginnings in Monteverdi, the use of tonal harmony as a basis for
counterpoint gradually increased from the late 17th century, though it did not become
universal; theoretical signposts in this development include the writings of Masson
(1694) and, particularly, Rameau (1722). The development was never complete: the
belief that in harmonically tonal music every detail was determined by means of tonal
harmony is an exaggeration resulting from over-systematic thinking. In harmonically
tonal writing (and also in contrapuntal writing) harmonies, namely triads and chords of
the 7th, constitute the primary, directly available entities from which the composer
started out. From this basis in harmony there results the distinction between chordal
dissonances, which belong to the harmony (the 7th in the chord of the 7th), and notes
foreign to the harmony, which constitute an external adjunct to it. A chordal
dissonance must be resolved, but need not be prepared; and for its own part, as a
component of the harmony, it can function as the resolution of a note foreign to it. (In
bar 4 of Mozart's Jupiter Symphony even the octave is a note foreign to the harmony,
a suspension leading to the 7th.) Naturally a 7th does not always count as a chordal
dissonance, but only when its resolution coincides with a change of root (as in ex.19a)
and thus when the dissonance is a determining factor in the harmonic development as
represented by the root progression (see Basse fondamentale). Conversely, if the
note to which a dissonance relates remains unmoved (as in ex.19b), then the 7th is to
be understood as a note foreign to the harmony, i.e. a suspension.
Since the later 17th century, composers' use of free counterpoint has been
characterized by the fact that dissonant figures taken from licentious counterpoint
accented passing notes or downward-leaping suspensions have been conceived in
terms of the requirements of harmonic counterpoint, and hence related to triads and
chords of the 7th instead of to individual notes. It is true that contrapuntal theory
admitted harmonically founded phenomena only hesitantly. In Bernhard's attempt to
sketch out a contrapuntal theory of seconda pratica (thus, to codify what is not really
susceptible of codification), the dissonant figures of licentious counterpoint, the stylus
luxurians, are described without regard to their harmonic preconditions or
implications. Phenomena such as the accented passing note (transitus inversus), the
upward- or downward-leaping appoggiatura (superjectio or subsumptio) and the
resolution of a suspension by leap (syncopatio catachrestica) or by a step upwards
(mora) are scarcely problematic; and their nature as exceptions to strict counterpoint,
which is clear from the fact that they are referred back to the norm from which they
deviate, is not open to dispute. However, in a quotation from a recitative (ex.20a),
which Bernhard reduced to a bare skeleton (ex.20b) in order to elucidate its free style
as a paraphrase of a piece of strict counterpoint, thus explaining it as an
agglomeration of licences an ellipsis (e' instead of f'e'), a quaesitio notae (c' d'
instead of d') and an anticipatio (e') there may be doubt as to whether it is not simply
a matter of a broken diminished 7th chord. Hence one may question whether
Bernhard was describing what he heard or whether his musical perception has been
misrepresented in his theory for want of other than contrapuntal terminology.
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In their descriptions of free style, Heinichen (1728) and Mattheson (1739), too, started
out from the categories of licentious counterpoint: in clear contradiction of the listening
habits of their time, and even their own perceptions, they explained as an anticipatio
transitus the unprepared use of the 7th in the dominant 7th chord on a strong beat.
The 7th, which in strict writing should appear only on a weak beat as a passing note,
is interpreted as being anticipated on the strong beat. Kirnberger (17719), who took
over the basic propositions of Rameau's theory of harmony, outlined a theory of free
composition sustained by an awareness of tonal harmonic implications; he took as his
starting-point four-part writing rather than two-part; dissonances are classified either
as essential (dissonant chords) or fortuitous (notes foreign to the harmony); and
embellished or variegated counterpoint proceeds from the figuration of a harmonic
framework.
From a chorale with continuo accompaniment (ex.21a) the seemingly two-part
writing implies four-part writing by the continuo Kirnberger evolved a motivic
counterpoint ( ex.21b). The upper part decorates dissonant chords melodically
(chords of the 2nd, a 6-5 and a 7th) and is to be understood not as an intervallic
progression (as which it would be absurd) but as free movement within the chord, with
anticipatory dissonances, hence notes foreign to the harmony, on every fourth quaver.
The part-writing is justified by the chords that constitute the implicit or (in the continuo)
explicit background to the composition.
Counterpoint
15. Bach.
Alongside the style of Palestrina, the instrumental polyphony of J.S. Bach constitutes
one of the models that have determined contrapuntal theory. Whereas Palestrina's
style allows barely any doubt over its rules, or at least its basic rules, the technique of
Bach's counterpoint has not yet been adequately described and there is some
controversy about the principles on which it is founded.
The habit of defining polyphony as a combination of equal melodic parts, the prestige
of the fugue as a consummate expression of instrumental counterpoint, and a onesided concentration on organ and keyboard music (as in Spitta's thesis of the primacy
of organ style in Bach's output) all contributed to neglect of the fact that another type
of polyphony, borne along by a continuo bass and with the melodic parts not of equal
importance but graded, is not less characteristic of Bach's music than is the fugal
type. To distort the title of a book by Halm (1913), it is possible to speak of two
cultures of counterpoint in Bach.
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Continuo polyphony or concertante counterpoint is founded on the principle of a

functional differentiation between the parts: the counterpoint is hierarchical. In Bach's
arias, where the writing is undeniably contrapuntal, the vocal part, the concertante
instrument and the underpinning of the continuo make up a kind of three-part writing,
differing from fugal writing principally in that the parts fulfil different functions
throughout rather than fulfilling the same functions (e.g. subject, counter-subject or
characteristic counterpoint, complementary counterpoint) in alternating groupings.
In continuo polyphony of the late Baroque period there is a coalescence of
heterogeneous traditions, and it is precisely because of this variety that it displays an
unsurpassed abundance of contrapuntal possibilities. These traditions included the
idea of polyphonic writing originating with the prima pratica: a polyphony eloquent in
every one of its melodic parts; monodic style as the realization of a declamatory or
cantabile, expressive or allegorical type of vocal melodic writing; the principle of
concertante writing, with which the growth of idiomatic instrumental motif was closely
associated; and, finally, the continuo as bearer of chord progressions, through whose
harmonic tonal definition a linear deployment of the melodic parts was not impeded
or restricted but rather, on the contrary, sustained (as already mentioned).
The idea of deducing a theory of Bachian counterpoint less from his fugal technique
than from his typical concertante continuo polyphony ought not to appear too strange.
For insofar as the period between 1600 and 1730, when technical developments
culminated in Bach's compositional technique, has properly been described as the
continuo period (Riemann) and as the age of the concertante style (Handschin), a
historian will find it natural to affirm that concertante continuo polyphony represents
the essential paradigm (resulting from the particular circumstances of the time) for
Bach's counterpoint.
Since Kurth (1917) coined the term linear counterpoint a term whose subsequent
use as a watchword he regarded as a misunderstanding the controversy over
whether Bach's counterpoint was primarily linearly or harmonically determined has
continued to rage. In order to avoid an excessively obdurate opposition between
conflicting dogmas, the technical aspect of the problem may be distinguished from the
aesthetic. Technically (or logically) speaking, Bach's counterpoint is virtually always
grounded in tonal harmony, and where the thematic aspect of his music comes into
conflict with the harmonic, it is the thematic rather than the harmonic that is adjusted.
The dissonance sequence in bar 28 of the Invention in D minor (ex.22a) would be
absurd if it were not heard as an embellishment of the chord of A minor: notes
belonging to the chord in the bass coincide with accented passing notes in the upper
part, and notes belonging to the chord in the upper part with unaccented passing
notes in the bass. The converse is rare: the fact that in bars 11 and 12 of the same
piece ( ex.22b) a passage of counterpoint is in itself comprehensible as a progression
of intervals while the chordal significance of bar 11 as a whole remains uncertain
(oscillating between G minor with added 7th and B major with a lower 3rd)
represents an exceptional case. Consequently, Kurth's theory that the harmony is
always a resultant rather than a starting-point or precondition a theory intended as a
suggestive hypothesis, and hence unable to bear interpretation as a dogma
becomes questionable or even erroneous as an assertion about Bach's contrapuntal
technique. It can still remain reasonable as an aesthetic postulate, or as a requirement
to be met by musical perception. It will then mean that listeners are expected to give
their attention primarily to the movement feature of the individual parts and
understand simultaneities as means to support the music's linear dynamics.
The fact that technically, or logically, seen many such movement features result
from the necessity to resolve dissonances, and thus that the energetic impetus
originates in the music's harmony rather than in its linearity, need not however prevent
one from perceiving aesthetically the dissonances as means of reinforcing movement
features. These will thus be accorded aesthetic priority even though, in technical
respects, they represent a resultant: what is logically primary will appear as
aesthetically secondary, and vice versa. (The attempt totally to psychologize the
theory of counterpoint, as an encroachment of a manner of aesthetic perception into
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the description of technical rudiments, would undermine the theory.)

If, then, Bach's counterpoint is grounded in tonal harmony, it is also motivically
characterized. Neither lines in Kurth's sense of the word (which are to be found in
Ockeghem rather than in Bach) nor melodic designs that imitate the rhythms and
pitches of speech, but rather motifs and figurations of instrumental origin represent
the prime substance found in Bach's polyphony. (Fugue subjects and countersubjects are complexes of motifs and figurations.)
In bars 9 and 10 of the bourre from French Suite no.6 (ex.23), the simple root
progression in 5ths and the formulaic melodic figures overshadow the irregular
dissonances: the contrapuntal details remain aesthetically unobtrusive, since logically,
in the structure of the writing, they are subsidiary. The interval sequences that in the
style of Palestrina were the very essence of counterpoint have now become merely a
by-product of the tonalharmonic and motivic characterization of the polyphony.
Contrapuntal phenomena that cannot be explained by reference to the usual
categories may often result from the superimposition of melodic parts that move
according to different rhythmic levels. In the second movement of the trio sonata from
Bach's Musical Offering, bars 4951, the outer voices form a chromatic chain of 6ths
and 7ths in a crotchet rhythm (the bass being thematic). But the progression can be
reduced to a diatonic model in minims (ex.24), a contrapuntal procedure that dates
back to the 15th century. It is to this diatonic, reduced version that one must relate the
inner part if the harmonies, which deviate from the norms of tonal harmony, are to
become comprehensible: the notes g' in bar 50 and f' in bar 51, which appear to be
dominant 7ths left unresolved, are in fact 5ths. The apparent chords of the dominant
7th are an incidental result of the rhythmic and chromatic modification of an original
contrapuntal model.
The fact that defining Bach's counterpoint becomes a complicated business, since
one has to speak both of concertante continuo polyphony and of hierarchically
organized counterpoint, ought not be thought a deficiency. It is precisely to the
multiplicity of historical conditions on which it is based that Bach's polyphony owes,
first, its abundance of figural material (and that has always been a cause for
admiration) and, second, its numerous determining factors, which could only fail to be
appreciated when it was sought to deduce the counterpoint from a single principle,
that of linearity.
Counterpoint
16. The Classical and Romantic eras.
The period between the later years of the 18th century and the beginning of the 20th
is accounted one in which counterpoint sank to being a mere academic exercise,
leaving barely recognizable traces in the practice of composers of piano and operatic
music. Yet an immense landscape of musical works bearing a primarily homophonic
imprint is relieved by isolated polyphonic works or groups of works which, in both spirit
and technique, recall older styles. Archaistic counterpoint, looking back to the models
of Palestrina or Bach, was by no means the only one; types can be cited that
distinguish this period from earlier centuries (provided one does not cut off access to
the phenomena that constitute the typical counterpoint of the 19th century by the use
of a definition restricting the concept of genuine counterpoint to the older style).
The revival of Palestrina's style, a throwback for which the spirit of the Romantic
movement was responsible, was sustained by the enthusiastic belief that only 16thcentury vocal polyphony could be true church music: a maxim shared by Protestant
writers (such as E.T.A. Hoffmann and Thibaut) and Catholic alike. Since it remained
restricted to sacred music, this reverence for Palestrina could even be totally
reconciled with the championing of musical progress which the New German school
believed it stood for: Liszt sympathized with the aims of the Cecilian movement, and
that left its mark on his compositions. In the 19th century, of course, the most
important aspect of Palestrina's style used to inculcate a devotional frame of mind was
not so much the strict technique of composition as rather the seraphic tone of a
music whose tempo was dilated so that it could be made to convey the notion of
hallowed strains felt to be emanating from some Great Beyond. Although
Bellermann's work in laying down precise rules for composition in this style (1862)
came about in connection with the church music revival, it also indicates that the
objective task of historical reconstruction became divorced from Romantic
enthusiasm.
While the revival of Palestrina's style appears primarily to have been a matter of
resuscitation and performance of existing music, and only secondarily intruding into
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the realm of composition, the influence of Bachs counterpoint was of concern to

composers: it was a matter of their professional equipment. The influence exerted by
Bach on Chopin and Mendelssohn, Schumann and Brahms should not be sought
solely in fugues and fughettas: it can also, and indeed particularly, be felt in their
character-pieces. The problem that Romantic composers sought to solve by referring
back to Bach consisted in the difficulty of writing in a strict style hence without
falling into the technical heedlessness of the general run of operatic and keyboard
music while producing works that were poetic rather than prosaic (under which
heading Schumann categorized not just light music but also the merely technical work
of art). What they saw realized in exemplary fashion in the music of Bach was the
idea of music at once contrapuntal and full of character, at once strict and eloquent:
music in which the characteristic and the eloquent features of a contrapuntally
differentiated texture were not forced on it from outside but were actually generated by
it.
In the instrumental music of the Classical and Romantic eras the fugue represents a
kind of counterpoint thought of as strict, although actually it was a special case of
free style. However, sonata and fugue or rather, sonata form and fugal technique
were closely related: there was a tendency for the two cultures of music to coalesce
into a third. On the one hand, as demonstrated by Haydn's evolution from op.20 to
op.33, fugue and fugato were prerequisites of thematic working out in the technique of
Classical and Romantic development sections. On the other, as the tendency grew for
thematic development to spread over entire movements, it became logical to
characterize the development section by an intensification of motivic work to the point
of fugal technique and thus mark it out as distinct from the exposition and the
recapitulation. In Beethoven's late quartets, in Brahms and even in Liszt, fugal
technique was in effect displayed as a consequence of thematic working.
The continuation of the second subject in the first movement of Schubert's String
Quintet in C, a melody in canon, provides a perfect example of the realization of an
idea that constantly recurs in the 19th century, in operatic ensembles as well as in
subsidiary themes of Bruckner symphonies: the idea of a cantabile counterpoint, or of
a contrapuntal cantabile style. The fact that to aestheticians this must have seemed a
hybrid, since it flouted the convention whereby cantabile was associated with
homophonic style and polyphony with an unbending thematic style, was seen by
composers less as an inhibiting factor than as a challenge to transform this
contradiction into an aesthetic proposition and thus a benefit. Indeed, it was
characteristic of the 19th century that it tended to bring together apparently mutually
exclusive opposites.
The thematic combinations in the prelude to Wagners Die Meistersinger and in the
final duet of Siegfried the simultaneous, not wholly unforced, presentation of
leitmotifs that had been independently coined were felt by Schenker to be a betrayal
of the concept of counterpoint; Richard Strauss on the contrary praised them as the
only adequate form of counterpoint in an age of expressive music (and took the idea
to technical and aesthetic extremes in Salome and Elektra, as psychological
counterpoint). Here it is undoubtedly a matter of counterpoint as an expression of
literary ideas: the motifs are not related as melodic lines but associated aesthetically
as symbols of ideas and emotions, while being technically pieced together as
encrustations around one and the same chord (not without fissures and flaws). The
procedure may be thought technically questionable; but during a period typified by
music drama and symphonic poems genres bearing a strong literary stamp it
should not seem surprising if these literary tendencies infiltrated contrapuntal
technique. Or, to put it another way, if one is going to condemn literary counterpoint,
one's judgment must also include literary music as a whole.
Polyphony written around chords, and there less for its own sake than for the fact that
it imparts a richer and more variegated effect to the orchestral sound, has come into
disrepute as pseudo-polyphony. This term, either explicitly or tacitly, contains the
aestheticomoral reproach that counterpoint, which ought to be an end, has here
been relegated to the role of a means, a factor subservient to the quality of sound:
instead of being rendered clear by means of instrumentation, the exact opposite
happens and it is made to serve as a vehicle of sonority. (Instruments whose parts are
characterized by expressivity make a better sonorous impact, even though the details
of what they have to say are quite inaudible.) In this judgment is concealed a prejudice
that the parameters of music fall into an unalterable hierarchical order: according to
this, contrapuntal structure would as a matter of course be the primary factor and
instrumentation merely secondary. In the evolution of composition during the mid20th century this prejudice has been overthrown, so that in retrospect even a historical
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phenomenon such as the degradation of counterpoint to a means towards richness

of sonority appears in a very different aesthetic light.
Textbooks, which for didactic reasons are inclined to simplify matters by setting up
clear antitheses, suggest that counterpoint functions as an opposite to harmony, thus
promoting the view that an evolution of harmony embracing varied chordal structures
and methods of linking chords must necessarily entail a suppression of polyphony.
But in the music of Brahms and Wagner the opposite is patently the case. The
harmonic richness characteristic of Brahms forms a corollary to a kind of melodically
conceived bass writing (instead of being confined to a small number of supporting
notes); and the relationship of such a bass to the melodic line becomes a contrapuntal
framework for the compositional technique. In Wagner's harmony it is the individual
characterization of chords by means of dissonances and chromatic variants that
creates consequences in the contrapuntal writing: on the one hand the dissonant,
complicated chords impel their own part-writing; on the other, since the root
progression in the bass is often weak and not capable of sustaining its load, chords
must be linked by motivic part-writing. Hence the part-writing must tend towards
polyphony if the juxtaposition of chords is to have the effect of a compelling
progression.
Counterpoint
17. 20th century.
The emphasis on counterpoint in music after 1910 can be seen as a corollary of the
diminishing importance of tonal harmony. Chordal coherence lost its fundamental
importance, and did so regardless of whether tonality was dissolved (Schoenberg,
Berg, Webern) or metamorphosed (Stravinsky, Bartk, Hindemith). The various types
of expanded tonality (whose principal feature is not, however, expansion) appear as
hierarchically ordered systems analogous to traditional tonality; but it is less chords
than individual notes round which they spin a web of relationships, so that it is more
natural for the tonal structures to be characterized by melodic and polyphonic than by
homophonic style.
Among the techniques that dissolved tonal harmony, bi- or polytonality is notable for
its tendency to promote a contrapuntal style. Although it appears to proceed from the
superimposition of chords of different keys (as in Strauss's Elektra), it is possible to
consider the contrapuntal manifestation (as in Milhaud) as the truly representative
one. Polytonal (or polymodal) counterpoint is a paradox of compositional technique in
that the tonal atomization of the style as a whole requires a particularly clear tonal
characterization of the individual parts; otherwise polytonality whose aesthetic
import consists in the pointedness of its effect will turn into the grey on grey of tonal
indistinguishability.
The problems of 12-note counterpoint inevitably raise the problems of 12-note
technique as a whole; here it is necessary to restrict the discussion to comments on
some misunderstandings or details that have been taken out of context. First, the
emancipation of the dissonance, the liberation of dissonances from the necessity of
resolution, merely means that the specific difference between consonances and
dissonances, which gave rise to the dependence of dissonances on consonances,
has been abolished, and not that chords no longer possess varying degrees of
consonance and dissonance with which the composer can work (Krenek, 1940). In
12-note counterpoint, too, there is a harmonic gradient (Hindemith, 1937). Second,
Schoenberg's procedure of formulating a 12-note row in such a way that the first half
of the original form together with the first half of the inversion transposed down a 5th
form a 12-note complex (what Babbitt called combinatoriality) represents a way out
of the dilemma: for the principle of dodecaphony, the non-repetition of notes before a
row has been stated in its entirety, is contravened as soon as incidental note
repetitions are produced by the simultaneous use of different forms of the row. Where
the row itself is a primarily melodic principle, combinatoriality presents itself as a
sustaining principle of a kind of strict writing in 12-note counterpoint. Third,
dodecaphonic counterpoint in Schoenberg (though not in Webern) is to be understood
as thematic or motivic counterpoint. Schoenberg did not construct 12-note rows in an
abstract way, but as thematic shapes (though naturally they would be modified for
constructional purposes); and the assertion that by virtue of dodecaphonic technique
as distinct from free atonality, which tended either towards dependence on a text or
towards an aphoristic style it would once more be possible to compose large-scale
forms in instrumental music simply means that dodecaphonic technique permitted the
formulation of themes capable of sustaining a large-scale musical structure.
The term linear counterpoint (Kurth, 1917) should not be mistaken as a synonym for
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a heedless sort of polyphony paying no attention to vertical simultaneities. Its

distinctive feature is rather the concept of melody, which served as the starting-point
for the adherents of the new objectivity when they set up linear counterpoint as an
anti-type to the Romantic harmony they despised: the notion of a kind of melodic
writing not reliant on chords and chordal progressions, but evolved from the alliances
and oppositions of leaps and steps, ascents and descents, long and short values,
indeed a kind of structure of pitch and rhythm representing a state of energy (Kurth)
and striving towards an equilibrium which, however, it can only achieve at the very
last, so that the melodic movement will not come to a standstill before the final
cadence. Counterpoint, however, is in this style nothing more than multiple melody,
and is subject to the same criteria of energy as is a single melody: the parts support,
enhance or contradict each other; they cross or complement each other.
Counterpoint
BIBLIOGRAPHY
up to 1800
after 1800
Counterpoint: Bibliography
up to 1800
for modern editions and facsimiles see individual articles
Prosdocimus de Beldemandis: Contrapunctus (1412)
Guilielmus Monachus: De preceptis artis musicae (MS, c1480)
B. Ramos de Pareia: Musica practica (Bologna, 1482)
N. Burtius: Musices opusculum (Bologna, 1487)
G. Guerson: Utilissime musicales regule (Paris, c1490)
F. Gaffurius: Practica musicae (Milan, 1496, 2/1497)
N. Wollick: Opus aureum musicae (Cologne, 1501)
J. Cochlaeus: Musica (n.p., c1504, enlarged 2/c1505 [in D-LEu, anon. in source],
3/1507, abridged 4/1515)
D.M. Durn: Smula de canto de rgano, contrapunto y composicin, vocal y
instrumental prtica y especulativa (Salamanca, c1504)
A. Ornithoparchus: Musicae activae micrologus (Leipzig, 1517/R)
G. Rhau: Enchiridion musicae mensuralis (Leipzig, 1520, 2/1530, 10/1553)
P. Aaron: Thoscanello de la musica (Venice, 1523/R; rev. with suppl. as Toscanello
in musica, 2/1529/R, 3/1539/R, 4/1562)
G.M. Lanfranco: Scintille di musica (Brescia, 1533/R)
S. Vanneo: Recanetum de musica aurea (Rome, 1533/R)
H. Glarean: Dodecachordon (Basle, 1547/R)
A.P. Coclico: Compendium musices (Nuremberg, 1552/R)
N. Vicentino: L'antica musica ridotta alla moderna prattica (Rome, 1555/R, 2/1557)
G. Zarlino: Le istitutioni harmoniche (Venice, 1558/R, rev. 3/1573/R)
G.M. Artusi: L'arte del contraponto ridotta in tavole (Venice, 1586)
V. Galilei: Discorso intorno all'uso delle dissonanze (MS, 158891, I-Fn)
V. Galilei: Il primo libro della prattica del contrapunto intorno all'uso delle consonanze
(MS, 158891, I-Fn)
P. Pontio: Ragionamento di musica ove si tratta de' passaggi et del modo di far
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motetti, messe, salmi et altre compositioni (Parma, 1588)

O. Tigrini: Compendio della musica (Venice, 1588)
G.M. Artusi: Seconda parte dell'arte del contraponto, nella quale si tratta dellutile et
uso delle dissonanze (Venice, 1589)
S. Calvisius: Melopoeia (Erfurt, 1592)
P. Pontio: Dialogo ove si tratta della theorica et prattica di musica (Parma, 1595)
T. Morley: A Plaine and Easie Introduction to Practicall Musicke (London, 1597/R)
J.P. Sweelinck, attrib.: Compositions-Regeln (MS, c1600, A-Wm, D-Bsb)
S. Cerreto: Della prattica musica vocale et strumentale (Naples, 1601, 2/1611)
G. Diruta: Seconda parte del Transilvano, dialogo diviso in quattro libri (Venice, 1609)
A. Banchieri: Cartella musicale nel canto figurato fermo e contrappunto (Venice,
1610, 3/1614)
J. Lippius: Synopsis musicae novae omnino verae atque methodicae universae
(Strasbourg, 1612) [largely a republication of Disputatio musica secunda
(Wittenberg, 1609) and Disputatio musica tertia (Wittenberg, 1610)]
P. Cerone: El melopeo y maestro (Naples, 1613/R)
G. Coprario: Rules how to Compose (MS, before 1617, US-SM)
C. Angleria: La regola del contraponto, e della musical compositione (Milan, 1622)
L. Zacconi: Prattica de musica: seconda parte (Venice, 1622/R)
M. Effrem: Censure sopra il sesto libro de madrigali di M. Marco da Gagliano
(Venice, 1623)
J. Crger: Synopsis musica, continens rationem constituendi et componendi melos
harmonicum, conscripta variisque exemplis illustrata (Berlin, 1630, enlarged
2/1654)
M. Scacchi: Cribrum musicum ad triticum Syfertianum, seu examinatio succinta
psalmorum (Venice, 1643)
P. Syfert: Anticribratio musica ad avenam Scacchianam (Danzig, 1645)
M. Scacchi: Breve discorso sopra la musica moderna (Warsaw, 1649)
A. Kircher: Musurgia universalis (Rome, 1650/R)
J.A. Herbst: Arte prattica et potica, das ist Ein kurtzer Unterricht wie man einen
Contrapunct machen und componiren sol lernen (Frankfurt, 1653)
G. Avella: Regoli di musica, divise in cinque trattati (Rome, 1657)
C. Bernhard: Tractatus compositionis augmentatus (MS, c1657)
L. Penna: Li primi albori musicali per li principianti della musica figurata (Bologna,
1672, 4/1684/R, 5/1696)
G.M. Bononcini: Musico prattico che brevemente dimostra il modo di giungere alla
perfetta cognizione di tutte quelle cose, che concorrono alla composizione de i
canti e di ci ch'all'arte del contrapunto si recerca, op.8 (Bologna, 1673/R)
A. Berardi: Documenti armonici (Bologna, 1687)
A. Berardi: Miscellanea musicale (Bologna, 1689)
A. Berardi: Arcani musicali (Bologna, 1690)
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C. Masson: Nouveau trait des rgles pour la composition de la musique (Paris,

1694)
G.A. Angelini Bontempi: Historia musica (Perugia, 1695/R)
J.G. Walther: Praecepta der musicalischen Composition (MS, 1708, D-WRtl)
J.-P. Rameau: Trait d'harmonie (Paris, 1722/R)
J.J. Fux: Gradus ad Parnassum (Vienna, 1725, 2/1745)
J.D. Heinichen: Der General-Bass in der Composition, oder Neue und grndliche
Anweisung (Dresden, 1728)
J. Euler: Tentamen novae theoriae musicae (St Petersburg, 1739)
J. Mattheson: Der vollkommene Capellmeister (Hamburg, 1739/R)
F.W. Marpurg: Abhandlung von der Fuge nach dem Grundstzen der besten
deutschen und auslndischen Meister (Berlin, 17534/R, 2/1858)
F.W. Marpurg: Handbuch bey dem Generalbasse und der Composition mit zweydrey-vier-fnf-sechs-sieben-acht und mehreren Stimmen (Berlin, 17558/R,
suppl., 1760/R; 2/1762/R [vol.i only]: Anhang (Berlin, 1760/R)
J.P. Kirnberger: Die Kunst des reinen Satzes in der Musik (Berlin and Knigsberg,
17719)
G.B. Martini: Esemplare, ossia saggio fondamentale pratico di contrappunto sopra il
canto fermo, i (Bologna, 1774), ii (Bologna, 1775)
J.P. Kirnberger: Gedanken ber die verschiedenen Lehrarten in der Komposition
(Berlin, 1782)
J.G. Albrechtsberger: Grndliche Anweisung zur Komposition (Leipzig, 1790)
Counterpoint: Bibliography
after 1800
MGG2 (Kontrapunkt; C. Palisca, W. Krtzfeld)
A. Reicha: Cours de composition musicale, ou Trait complet et raisonn dharmonie
pratique (Paris, 1818; Eng. trans., 1854/R)
F.-J. Ftis: Trait du contrepoint et de la fugue (Paris, 1824, enlarged 2/1846)
A. Reicha: Trait de haute composition musicale (Paris, 18246)
L. Cherubini: Cours de contrepoint et de fugue (Paris, 1835; Eng. trans., 1837)
A.B. Marx: Die Lehre von der musikalischen Komposition praktisch-theoretisch, i
(Leipzig, 1837, 10/1903; Eng. trans., 1852); ii: Die freie Komposition (Leipzig,
1837, 7/1890); iii (Leipzig, 1845, 5/1879); iv (Leipzig, 1847, 5/1888; Eng. trans.,
1910)
J.C. Lobe: Compositionslehre oder Umfassende Lehre von der thematischen Arbeit
(Leipzig, 1844)
J.C. Lobe: Lehrbuch der musikalischen Komposition (Leipzig, 185067, 5/18847)
S. Sechter: Die Grundstze der musikalischen Komposition (Leipzig, 18534)
S. Dehn: Lehre vom Contrapunkt, dem Canon und der Fuge (Berlin, 1859, 2/1883)
J.G.H. Bellermann: Der Kontrapunkt (Berlin, 1862, 4/1901)
A. de la Fage: Essais de dipthriographie musicale (Paris, 1864)
E.F. Richter: Lehrbuch des einfachen und doppelten Kontrapunkts (Leipzig, 1872;
Eng. trans., 1874)
L. Bussler: Der strenge Satz (Berlin, 1877, 2/1905)
S. Jadassohn: Musikalische Kompositionslehre (Leipzig, 18839)
H. Riemann: Lehrbuch des einfachen, doppelten und imitierenden Kontrapunkts
(Leipzig, 1888, 3/1915; Eng. trans., 1904)
E. Prout: Counterpoint, Strict and Free (London, 1890/R)
M. Haller: Kompositionslehre fr polyphonen Kirchengesang mit besonderer
Rcksicht auf die Meisterwerke des 16. Jahrhunderts (Regensburg, 1891)
E. Prout: Double Counterpoint and Canon (London, 1891, many later edns)
C. de Sanctis: Trattato di contrappunto e fuga (Milan, 1895, 2/1934)
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T. Dubois: Trait de contrepoint et de fugue (Paris, 1901)

F. Draeseke: Der gebundene Styl: Lehrbuch fr Kontrapunkt und Fuge (Hanover,
1902)
P. Goetschius: Counterpoint (New York, 1902, 5/1915)
H. Riemann: Grosse Kompositionslehre, i: Der homophone Satz (Berlin and Stuttgart,
1902, 2/1912); ii: Der polyphone Satz (Berlin and Stuttgart, 1903, 2/1912); iii: Der
Orchestersatz und der dramatische Gesangstil(Berlin and Stuttgart, 1913)
B.E. Scholz: Lehre vom Kontrapunkt und den Nachahmungen (Leipzig, 1904)
C.H. Kitson: The Art of Counterpoint and its Application as a Decorative Principle
(Oxford, 1907, 2/1924)
S. Krehl: Kontrapunkt (Leipzig, 1908)
S.I. Taneyev: Podvizhnoy kontrapunkt strogogo pis'ma [Invertible counterpoint in the
strict style] (Leipzig and Moscow, 1909; Eng. trans., 1962)
P. Goetschius: Exercises in Elementary Counterpoint (New York, 1910)
H. Schenker: Neue musikalische Theorien und Phantasien, ii/1 (Vienna, 1910); ii/2
(Vienna, 1922)
A.O. Halm: Von zwei Kulturen der Musik (Munich, 1913, 3/1947)
F. Corder: The Difficulties of Counterpoint, PMA, xl (191314), 113
J. Wolf: Ein Beitrag zur Diskantlehre des 14. Jahrhunderts, SIMG, xv (191314),
50434
E. Kurth: Grundlagen des linearen Kontrapunkts (Berne, 1917, 5/1956)
W. Hohn: Der Kontrapunkt Palestrinas und seiner Zeitgenossen (Regensburg, 1918)
E. Kurth: Zur Stilistik und Theorie des Kontrapunkts, ZMw, i (191819), 17684
H. Riemann: Geschichte der Musiktheorie im IX.XIX. Jahrhundert (Berlin, 2/1921/R;
Eng. trans. of pts iii, 1962/R, and pt iii, 1977)
R.O. Morris: Contrapuntal Technique in the 16th Century (Oxford, 1922)
H. Grabner: Der lineare Satz (Stuttgart, 1925, 2/1961)
K. Jeppesen: Der Palestrinastil und die Dissonanz (Leipzig, 1925; Eng. trans., 1927,
2/1946)
R.O. Morris: Foundations of Practical Harmony and Counterpoint (London, 1925)
C. Koechlin: Prcis des rgles du contrepoint (Paris, 1926; Eng. trans., 1927)
H. Roth: Elemente der Stimmfhrung (Stuttgart, 1926)
C.H. Kitson: Invertible Counterpoint and Canon (London, 1927)
C.S. Macpherson: Studies in the Art of Counterpoint (London, 1928)
H. Angls: Dos tractats medievals de msica figurada, Musikwissenschaftliche
Beitrge: Festschrift fr Johannes Wolf, eds. W. Lott, H. Osthoff and W.
Wolffheim (Berlin, 1929/R), 612
C.L. Seeger: On Dissonant Counterpoint, MM, vii/4 (192930), 2531; repr. in
Classic Essays on Twentieth-Century Music, ed. R. Kostelanetz and J. Darby
(New York, 1996), 17984
P.S.H. Gnther: Moderne Polyphonie (Berlin, 1930)
K. Jeppesen: Kontrapunkt (Vokalpolyfoni) (Copenhagen, 1930, 3/1962; Eng. trans.,
1939)
F.T. Arnold: The Art of Accompaniment from a Thorough-Bass as Practised in the
17th and 18th Centuries (London, 1931/R)
R.W. Wood: Modern Counterpoint, ML, xiii (1932), 31218
P. Nalli: Regulae contrapuncti secundum usum Regni Siciliae, Archivio storico per la
Sicilia orientale, xxxix (1933), 27792
F. Wright: The Essentials of Strict Counterpoint (Brooklyn, NY, 1935)
M.F. Bukofzer: Geschichte des englischen Diskants und des Fauxbourdons nach den
theoretischen Quellen (Strasbourg, 1936/R)
L.K. Feininger: Die Frhgeschichte des Kanons bis Josquin des Prez (Emsdetten,
1937)
T. Georgiades: Englische Diskanttraktate aus der ersten Hlfte des 15. Jahrhunderts
(Wrzburg, 1937)
P. Hindemith: Unterweisung im Tonsatz, i: Theoretischer Teil (Mainz, 1937, 2/1940;
Eng. trans. of iii as Craft of Musical Composition, 1942, 2/1948)
E.T. Ferand: Die Improvisation in der Musik (Zrich, 1938)
R.H. Robbins: Beitrge zur Geschichte des Kontrapunkts von Zarlino bis Schtz
(diss., U. of Berlin, 1938)
J.N. David: Der Kontrapunkt in der musikalischen Kunst, BJb, xxxvi (1939), 5061
V. Ferroni: Corso di contrappunto e fuga, ed. E. Pozzoli (Milan, 1939)
A.T. Merritt: Sixteenth-Century Polyphony: a Basis for the Study of Counterpoint
(Cambridge, MA, 1939)
E.J. Dent: The Teaching of Strict Counterpoint, MR, i (1940), 20113
E. Krenek: Studies in Counterpoint (New York, 1940)
Pgina 31 de 33
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R. Casimiri: Teodono de Caprio, non Teodorico de Campo, teorico musicale italiano

del secolo XV: un suo tratto inedito, NA, xix (1942), 3842, 938
E. Pepping: Der cantus-firmus-Satz, Der polyphone Satz, i (Berlin, 1943, 2/1950)
R.B. Henning: The Use of Contrapuntal Techniques by Contemporary Composers
(diss., Radcliffe College, 1947)
E. Krenek: A Discussion of the Treatment of Dissonances in Ockeghem's Masses as
Compared with the Contrapuntal Theory of Johannes Tinctoris (St Paul, MN,
1947)
A.I. McHose: The Contrapuntal Harmonic Technique of the 18th Century (New York,
1947)
W. Piston: Counterpoint (New York, 1947)
A. Bush: Strict Counterpoint in the Palestrina Style (London, 1948)
C.W. Fox: Modern Counterpoint: a Phenomenological Approach, Notes, vi (19489),
4662
H. Lemacher and H. Schroeder: Lehrbuch des Kontrapunkts (Mainz, 1950)
B. Blacher: Einfhrung in den strengen Satz (Berlin, 1953)
M. Hoffman: A Study of German Theoretical Treatises of the Nineteenth Century
(diss., U. of Rochester, 1953)
K. Sikorski: Kontrapunkt (Warsaw, 19537)
J. Hein: Die Kontrapunktlehre bei den Musiktheoretikern im 17. Jahrhundert (diss., U.
of Cologne, 1954)
H. Scare: Twentieth Century Counterpoint (London, 1954)
V. Soudres: Le sens actuel de la pense contrapuntique: inventaire des techniques
redactionnelles, Polyphonie, nos.910 ( 1954), 516
P. Hamburger: Studien zur Vokalpolyphonie, i (Copenhagen and Wiesbaden, 1956);
ii in DAM, iv (19645)
C.V. Palisca: Vincenzo Galilei's Counterpoint Treatise: a Code for the seconda
pratica, JAMS, ix (1956), 8196
E. Pepping: bungen im doppelten Kontrapunkt und im Kanon, Der polyphone Satz,
ii (Berlin, 1957)
M. Thaling: Der Kontrapunkt bei Mozart (diss., U. of Basle, 1957)
H.K. Andrews: An Introduction to the Technique of Palestrina (London, 1958)
J.M. Chomiski: Historia harmonii i kontrapunktu (Krakw, 1958)
E. Krenek: Tonal Counterpoint (New York, 1958)
T.W. Adorno: Die Funktion des Kontrapunkts in der neuen Musik, Klangfiguren:
Musikalischen Schriften, i (Berlin, 1959)
A. Seay: Paolo da Firenze: a Trecento Theorist, L'Ars Nova italiana del Trecento I:
Certaldo 1959, 11840
S. Hermelink: Dispositiones modorum: die Tonarten in der Musik Palestrinas und
seiner Zeitgenossen (Tutzing, 1960)
E. Rubbra: Counterpoint: a Survey (London, 1960)
R. Schltterer: Struktur und Kompositionsverfahren in der Musik Palestrinas, AMw,
xvii (1960), 4050
C. Dahlhaus: Zur Theorie des klassischen Kontrapunkts, KJb, xlv (1961), 4357
R.L. Crocker: Discant, Counterpoint, and Harmony, JAMS, xv (1962), 121
C. Dahlhaus: Bach und der lineare Kontrapunkt, BJb, xlix (1962), 5879
C. Dahlhaus: Domenico Belli und der chromatische Kontrapunkt um 1600, Mf, xv
(1962), 31540
C. Dahlhaus: Die Nota Cambiata, KJb, xlvii (1963), 115121
A. Schoenberg: Preliminary Exercises in Counterpoint, 193650, ed. L. Stein
(London, 1963)
A. Seay: The Liber musices of Florentius de Faxolis, Musik und Geschichte/Music
and History: Leo Schrade zum sechzigsten Geburtstag (Cologne, 1963), 7195
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Bach (Munich, 19645)
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(Kassel, 1968)
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cantus ascendit und ihre Verwandte, AMw, xxviii (1971), 23370
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K.-J. Sachs: Der Contrapunctus im 14. und 15. Jahrhundert: Untersuchungen zum
Terminus, zur Lehre und zu den Quellen (Wiesbaden, 1974)
J. Rothgeb: Strict Counterpoint and Tonal Theory, JMT, xix (1975), 26084
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xiv (1979), 1174
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F. Rempp: Die Kontrapunkttraktate Vincenzo Galileis (Cologne, 1980)

K.J. Snyder: Dietrich Buxtehude's Studies in Learned Counterpoint, JAMS, xxxiii
(1980), 54464
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(Wilhelmshaven, 1982)
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1983)
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mittelalterliche Lehre von der Mehrstimmigkeit, Geschichte der Musiktheorie, ed.
F. Zaminer, v (Darmstadt, 1984), 161256
B. Cooper: Englische Musiktheorie im 17. und 18. Jahrhundert, ibid., 141314
W. Seidel: Franzsische Musiktheorie im 16. und 17. Jahrhundert, ibid., 4140
R. Kramer: Gradus ad Parnassum: Beethoven, Schubert and the Romance of
Counterpoint, 19CM, xi (19878), 10720
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R. Groth: Italienische Musiktheorie im 17. Jahrhundert, Italienische Musiktheorie im
16. und 17. Jahrhundert: Antikenrezeption und Satzlehre, Geschichte der
Musiktheorie, ed. F. Zaminer, vii (Darmstadt, 1989), 30779
F. Rempp: Elementar- und Satzlehre von Tinctoris bis Zarlino, ibid., 39220
L. Rogers: Stravinky's Alternative Approach to Counterpoint (diss., Princeton U.,
1989)
E. Schroeder: Dissonance Placement and Stylistic Change in the Fifteenth Century:
Tinctoris's Rules and Dufay's Practice, JM, vii (1989), 36689
E. Seidel: Zur Kontrapunktlehre von Heinrich Bellermann, Palestrina und die Idee
der klassischen Vokalpolyphonie im 19. Jahrhundert: Frankfurt 1987, 23141
J. Lester: History of Compositional Theory in the 18th Century (Cambridge, MA,
1992)
W. Braun: Deutsche Musiktheorie des 15. bis 17. Jahrhunderts, ii: von Calvisius bis
Mattheson, Vom Magister und Schulkantor zum vollkommenen Kapellmeister,
Geschichte der Musiktheorie, ed. F. Zaminer, viii (Darmstadt, 1994)
E. Schwind: Kadenz und Kontrapunkt: zur Geschichte der Kompositionslehre
ca.1470ca.1570 (diss., U. of Freiburg, 1996)
Pgina 33 de 33

Counterpoint - Grove

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taking only two-part note-against-note composition into consideration, thus ignoring

By way of contrast in pre-contrapuntal note-against-note compositions, combinations

A particular 15th-century three-part technique is found in those compositions where

follow a semiminim after a dotted minim. Repetition of words is permitted in cantus

The second consists, mostly, of four notes: an unstressed semiminim dissonance

to a regulated joining together of simultaneities and there is nothing to justify the

Continuo polyphony or concertante counterpoint is founded on the principle of a

the description of technical rudiments, would undermine the theory.)

the realm of composition, the influence of Bachs counterpoint was of concern to

phenomenon such as the degradation of counterpoint to a means towards richness

a heedless sort of polyphony paying no attention to vertical simultaneities. Its

motetti, messe, salmi et altre compositioni (Parma, 1588)

C. Masson: Nouveau trait des rgles pour la composition de la musique (Paris,

T. Dubois: Trait de contrepoint et de fugue (Paris, 1901)

R. Casimiri: Teodono de Caprio, non Teodorico de Campo, teorico musicale italiano

F. Rempp: Die Kontrapunkttraktate Vincenzo Galileis (Cologne, 1980)

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