In first species counterpoint, we begin with a cantus firmus (new or existing) and compose a single new line-called the counterpoint-above or below the cantus firmus. Further, and most importantly, we combine these melodies to create a whole texture that is smooth, exhibits variety and goal-oriented motion, and in which these melodies both maintain their independence and fuse together into consonant simultaneities (the general term for two or more notes sounding at the same time). In first-species counterpoint, we not only write a smooth melody that has its own integrity of shape, variety, and goal-directed motion, but we also write a second melody that contains these traits. They can also use the same harmonic rhythm to highlight similar phrases in the music, which can be useful when determining the phrase structure of a piece and when finding cadence points.Counterpoint is the mediation of two or more musical lines into a meaningful and pleasing whole. As an example, they can shift the harmonic rhythm to add variety and interest (rhythmic dissonance) to the music. Composers can use harmonic rhythm as a compositional tool.The tonic occupies an accented metric position more often than the dominant (the HC is a notable exception).When looking for cadence points and phrase separations, examining the harmonic rhythm is often helpful. The rate of chord change often accelerates or decelerates with the approach to a cadence and final cadence chords usually are metrically stronger than the chord that precedes them.Harmonies most often change on strong beats rather than on weak beats, and more often on downbeats than upbeats.When tempo is slow, harmonic rhythm is often fast. When tempo is fast, harmonic rhythm is often slow. Tempo and harmonic rhythm often display an inverse relationship. Patterns of harmonic change often help to define the meter.The rate of chord change often accelerates or decelerates with the approach to a cadence. This is another characteristic of harmonic rhythm in music. The harmonic rhythm also slows down at the cadence in bar 4. Note that the harmonic rhythm changes on every beat. Harmonic rhythm can also be faster, occurring as often as every beat or note in the melody. Link for recording of movement 2 at 7:31: Beethoven: Sonata No.11 in B-flat Major, Op.22 Note that bar lines are needed when drawing harmonic rhythm. A slower harmonic rhythm allows time to ornament the melody without sounding rushed or overwhelming the ear. Notice that melody in this piece is highly ornamented over a regular rhythmic pulse in the accompaniment. Harmonic rhythm can occur as infrequently as every couple of bars or longer. Functionally, the cad 6/4 is a decoration of the V chord and is considered a dominant function chord, but because the notes of the chord change between cad 6/4 and V, the harmonic rhythm reflects the chord change, not the functional relationship of the two chords. In the following example, we see a cadential 6/4-V-I progression in the last two bars. While harmonic rhythm shows the rate at which chords change, it does not show the functional relationship between chords. Each beat has a tonic chord in a different inversion, but because the chord itself has not changed during the bar, the harmonic rhythm is symbolized using a whole note. When symbolizing harmonic rhythm, all inversions of a chord count as part of the same chord. Notice that the rhythms used in each beat are not the same as the harmonic rhythm. The length that each chord in the music lasts is symbolized using standard rhythmic notation. Harmonic rhythm is the rate at which chords change in a piece of music. 6.3 Harmonic Rhythm: Tutorial Harmonic Rhythm
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |