The Story of Musical Form

Cover The Story of Musical Form
The Story of Musical Form
Lucas, Clarence, 1866-1947
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In the second part the shorter note value and the con- tinuity of the melodic flow of notes in the bass make the bass almost equal in importance to the theme. In other 71 Story of Musical Form words, the bass in the second part is a counterpoint to the melody ; the bass is contrapuntal. The example A shows the first two phrases that together make half of the first sentence of this march. B is the same half sentence with the contrapuntal bass.
(^ ^m ^ j; jfjj.j w There are several species of cou
...nterpoint classified in treatises. As exercises the systematic study of these 72 Various Counterpoints species is of value, but the only counterpoint that modern composers make any extensive use of is the species known as florid counterpoint. This species of counterpoint is easily distinguish- 1; able by its notes of unequal length, by tied and .
dotted notes, and by rests. The counterpoint in the TantiMuser example B is not florid; it is of the third species. Space forbids an explanation of the five species of counterpoint, of which florid is the last.


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