Renaissance Counterpoint | Classical Context

SYLLABUS

RENAISSANCE COUNTERPOINT - THE STYLE OF PALESTRINA

Instructor - Andrew James Clark - www.andrewjamesclark.ca

These worksheets can be used by composition students to strengthen their fundamental procedures of Renaissance Counterpoint and to begin composing music in the style of Palestrina. Through acquisition of these contrapuntal maneuvers, students will gain access to the oldest codified compositional techniques in western art music, and particularly learn to craft florid melodic material which is most natural and suitable to the human voice.

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1. MELODY WRITING
Melodies in whole tones written in the style of Palestrina

2. FIRST SPECIES
Single melodies in whole tones written over a cantus firmus

3. SECOND SPECIES
Two notes against each note of a cantus firmus

SYLLABUS

1. MELODY WRITING
Melodies in whole tones written in the style of Palestrina

2. FIRST SPECIES
Single melodies in whole tones written over a cantus firmus

3. SECOND SPECIES
Two notes against each note of a cantus firmus

4. THIRD SPECIES
Four notes against each note of a cantus firmus

5. FOURTH SPECIES
Syncopated half notes against a cantus firmus

6. FIFTH SPECIES
Melodies of mixed note values against a cantus firmus

7. ANALYSIS
Intervalic Material in the opening of Missa Brevis

8. FREE TWO-PART WRITING
Short compositions in two free voices.

9. FIRST SPECIES IN THREE PARTS
Three-part counterpoint in whole notes.

10. TWO-PART IMITATION
Imitation and free part writing.

11. SECOND SPECIES IN THREE PARTS
Three-part counterpoint in half note and whole note combination.

SYLLABUS

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1. MELODY WRITING Melodies in whole tones written in the style of Palestrina

2. FIRST SPECIES Single melodies in whole tones written over a cantus firmus

3. SECOND SPECIES Two notes against each note of a cantus firmus

4. THIRD SPECIES Four notes against each note of a cantus firmus

5. FOURTH SPECIES Syncopated half notes against a cantus firmus

6. FIFTH SPECIES Melodies of mixed note values against a cantus firmus

7. ANALYSIS Intervalic Material in the opening of Missa Brevis

8. FREE TWO-PART WRITING Short compositions in two free voices.

9. FIRST SPECIES IN THREE PARTS Three-part counterpoint in whole notes.

10. TWO-PART IMITATION Imitation and free part writing.

11. SECOND SPECIES IN THREE PARTS Three-part counterpoint in half note and whole note combination.

1. MELODY WRITING
Melodies in whole tones written in the style of Palestrina

2. FIRST SPECIES
Single melodies in whole tones written over a cantus firmus

3. SECOND SPECIES
Two notes against each note of a cantus firmus

4. THIRD SPECIES
Four notes against each note of a cantus firmus

5. FOURTH SPECIES
Syncopated half notes against a cantus firmus

6. FIFTH SPECIES
Melodies of mixed note values against a cantus firmus

7. ANALYSIS
Intervalic Material in the opening of Missa Brevis

8. FREE TWO-PART WRITING
Short compositions in two free voices.

9. FIRST SPECIES IN THREE PARTS
Three-part counterpoint in whole notes.

10. TWO-PART IMITATION
Imitation and free part writing.

11. SECOND SPECIES IN THREE PARTS
Three-part counterpoint in half note and whole note combination.