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Scan 162
American history and encyclopedia of music, 1910
26 lines. Read by computer on 11 September 2026. Printed page 139. See the scan on archive.org.
1counterpoint
2The more ancient practise of in reality combining two already existing melodies that sometimes bore absolutely no relation to each other, eventually gave way to the more artistic method of jointly composing two or more melodies with regard to each other. The various melodies are supposed to be voices and the rules were originally so framed as to facilitate the performance for singers. The old musicians found by experience that progressions of certain intervals, the introduction of various chromatic notes, and numerous other conditions were awkward for singers to take especially when liable to be distracted by the other voices, and consequently in strict counterpoint, these progressions were forbidden. Only consonant combinations of two voices were allowed because the singers found it much easier to keep in tune in singing such combinations. It was equally improper for one voice to give a natural tone and for another voice immediately after to give the sharp or flat of that tone or any of their octaves. The reason for this is quite clear, for if one singer gave C natural for instance, the singer of another part would, having his neighbor's C in mind, find a difficulty in taking C sharp promptly and in tune.
4There are many rules of similar character governing such counterpoint as is called strict, but these few will suffice to show that they have their origin in purely artistic expediency in order to meet what, at the time such rules were framed, were considered necessary for good vocal performance. With the advance in importance of instruments these necessities were not so imperative, because the players can easily take any intervals they please, and hence the great laxity with instrumental counterpoint; also in vocal counterpoint in modern days the ears of singers are so much more accustomed to the kind of discords that the intervals formerly so difficult became easier, and hence the rules for these are also relaxed. Nevertheless, counterpoint is much more complicated than harmony and in the study of the theory of music is always delayed until the student has a thorough knowledge of the fundamental principles and has devoted a goodly portion of his time to harmony, for not only does the understanding of counterpoint include an understanding of melody, for the composition of each melody, but also of harmony in order that the melodies may be continued effectively. Abbr. cpt.
6counterpoint, double
7Counterpoint in which two parts are written in such a manner as to be capable of mutual inversion at any interval, that is, each part may be raised or lowered any interval and the musical effect remain the same. The word double is synonymous with invertible.
9counterpoint, equal
10Counterpoint in which the simultaneous notes of all parts are of equal value.
12counterpoint, ornamental
13See ornamental counterpoint.
15counterpoint, quadruple
16Counterpoint consisting of four parts capable of mutual inversion, that is, each part may be raised or lowered any interval without changing the musical effect of the composition. Here three parts are combined with the cantus firmus so that all can change place without ceasing to form a perfect whole. Twenty-four different relative positions of parts are in this way possible in quadruple counterpoint.
18counterpoint, single
19Counterpoint in which the parts are so written that they retain their relative position throughout the movement, and are executed simultaneously producing a whole which satisfied the ear; sometimes called simple counterpoint.
21counterpoint, triple
22Counterpoint in three parts which are capable of mutual inversion, that is, each part may be raised or lowered any interval and the musical effect will remain the same. The relation of the intervals remain the same but by taking the parts two by two it will be seen they can hold relatively to each other six positions, since by inversion any part may be bass, middle or highest voice.
24counterynge ye songe (kown'-tër-ing the song) old Eng.
25Descant: the primitive form of counterpoint. The process of adding one or more parts to a given melody, usually improving. A set of elaborate rules were made for descant.
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