There are numerous ways it could be notated. For augmented, either a "+" or the abbreviation "aug" can be used. For diminished, either a "°" or the abbreviation "dim."
When I say "not allowed" and "can't," I simply mean those things are not commonly found in this style of music. Admittedly, the style I'm using here is largely contrived and meant to be an introduction to tonal harmony and voice-leading for first-year theory students.
because back i those times it was just the rules .... for example a tritone wanst accepted because the church believed it was considered the "devil Chord" or interval ..... dissonance was not accepted back in those times
Again, it's a style consideration. Consecutive leaps in the same direction aren't necessarily bad, but they can cause trouble for someone just starting to learn this style.
Hi Sean
You will continue your videos about Counterpoint? or you already do it and I can't find those videos?
Thank you very helpful
To make sure I understand this: for a diminished 5th, you *have* to resolve to a third for it to be valid counterpoint, otherwise it's an error?
In the tradition of 18th-century, Western art music, yes. A diminished 5th should resolve to a 3rd to be considered "good" counterpoint.
@@SeanAtkinsonmusic So, these rules of counterpoint are to simply ensure "good" style of the 18th-century Western music?
@@LanceClark the rules discussed in this video apply to a much larger portion of Western music. I would say, roughly 1500-1900
Isn't counterpoint just two lines of intervals that produce friendly results? Each line being a melody unto itself.. Is counterpoint just two lines?
What is the notation for augmented and diminished?
There are numerous ways it could be notated. For augmented, either a "+" or the abbreviation "aug" can be used. For diminished, either a "°" or the abbreviation "dim."
So, I'm curious.. Why are certain intervals "not allowed"? furthermore, why "can't" I use certain intervalic qualities in counterpoint?
When I say "not allowed" and "can't," I simply mean those things are not commonly found in this style of music. Admittedly, the style I'm using here is largely contrived and meant to be an introduction to tonal harmony and voice-leading for first-year theory students.
because back i those times it was just the rules .... for example a tritone wanst accepted because the church believed it was considered the "devil Chord" or interval ..... dissonance was not accepted back in those times
Why are we to avoid consecutive leaps?
Again, it's a style consideration. Consecutive leaps in the same direction aren't necessarily bad, but they can cause trouble for someone just starting to learn this style.
you can use consecutive leaps, if the notes involved in this leap belong to the same harmony
also, these are very general rules, often broken by Bach, Mozart, Beethoven, etc.