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post #1 of 7 (permalink) Old 06-01-2015, 02:01 PM Thread Starter
 
Join Date: Nov 2012
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Counterpoint

'Ello, folks! I'm currently studying Johann Joseph Fux's Gradus Ad Parnassum and I've run into a wee bit of a snag. In his book, Fux says, and I quote "... the cantus firmus is in D (la, sol, re) 4, as the beginning and conclusion show, and you started with G (sol, re, ut), you have obviously forced the beginning out of the mode." I'm slowly beginning to get a grip on what this means, but I think I need a deeper explanation.

Also, down below in a footnote, it says "4 This quadruple denomination of the same tone derives from the old distribution of the tones into three hexachords", and then proceeds to give three examples, the hard hexachord, the soft hexachord, and the natural hexachord.

As far as I can tell, the la, sol, re of the cantus firmus (D), as the footnote goes on to explain, ut, re, mi, fa, sol, and la was the customary way to indicate the degrees of a tone in the hexachords.
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post #2 of 7 (permalink) Old 06-01-2015, 02:07 PM
 
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Re: Counterpoint

(in my best Dangerfield voice) ....the answer is, 4??????

Last edited by satchmo72; 06-01-2015 at 02:19 PM.
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post #3 of 7 (permalink) Old 06-01-2015, 02:19 PM Thread Starter
 
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Re: Counterpoint

Hehheh! I put that in there so people would understand that the footnote was written because of the cantus firmus being in D.

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Originally Posted by satchmo72 View Post
....the answer is 4??????
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post #4 of 7 (permalink) Old 06-01-2015, 02:24 PM
 
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Re: Counterpoint

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Originally Posted by Daniel "D-Boy" View Post
Hehheh! I put that in there so people would understand that the footnote was written because of the cantus firmus being in D.
I'm dumber than a box of retarded rocks when it comes to music theory. Music theory is beautiful, I just do not have the mental ability left in my days to comprehend or apply it.
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post #5 of 7 (permalink) Old 06-01-2015, 08:11 PM
 
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Re: Counterpoint

Just a guess here with limited context to go on, but since you're talking about counterpoint I wonder if he's pointing out that two voices in the piece are each written with different/conflicting hexachords? I.e. if one voice is in D la, sol, re (modulating betwen those three hexachords) that voice would be modulating from soft->hard->natural. If the other voice was written in G sol, re, ut, it would mean that this voice was modulating from natural->soft->hard. I'm not looking at the music, but i suppose if the composer was careful this might sound okay because many of the notes are shared across these modes?

Just a guess...not sure if I helped or confused matters


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post #6 of 7 (permalink) Old 06-01-2015, 08:19 PM Thread Starter
 
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Re: Counterpoint

Are you kidding?? That was exactly what I needed to understand this more completely!! thanks!

Quote:
Originally Posted by pwsusi View Post
Just a guess here with limited context to go on, but since you're talking about counterpoint I wonder if he's pointing out that two voices in the piece are each written with different/conflicting hexachords? I.e. if one voice is in D la, sol, re (modulating betwen those three hexachords) that voice would be modulating from soft->hard->natural. If the other voice was written in G sol, re, ut, it would mean that this voice was modulating from natural->soft->hard. I'm not looking at the music, but i suppose if the composer was careful this might sound okay because many of the notes are shared across these modes?

Just a guess...not sure if I helped or confused matters


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post #7 of 7 (permalink) Old 06-01-2015, 08:27 PM
 
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Re: Counterpoint

sweet. good guess then...glad i could help. Happy counterpoint studying/writing
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counterpoint , gradus ad parnassum , johann joseph fux

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