Definition [Edit this paragraph] Counterpoint Counterpoint refers to the synthesis of two or several related but independent melodies into a single harmonic structure while each melody maintains its own line or horizontal direction. Melodic characteristics. Techniques for writing polyphonic music. That is, according to certain rules, different tunes are combined simultaneously by using sound to sound, so that the music maintains the independence of each part and the contrast and connection between each other in the horizontal direction, and can form a harmonious effect in the vertical direction. If several voices that constitute counterpoint can only be combined in one way and their mutual relationships are irreversible, it is called single counterpoint. Those whose relationships are interchangeable are complex counterpoints. Those that can be moved up and down are vertically movable alignments, those that can be moved front and back are horizontally movable alignments, and those that can be moved both up and down are vertically and horizontally movable alignments. Counterpoint can be divided into two categories: strict counterpoint and free counterpoint: ① Strict counterpoint is an earlier church polyphony system. It uses the medieval church mode as the basis, based on the interval progression, in a fixed tune Write various counterpoint tunes. The rules of this system are strict and numerous, mostly related to the choral style of the 16th century. ② Free counterpoint is based on the major and minor system and based on harmonic progression. The use of details such as the processing of dissonance, modulation, and obliqueness is closer to the instrumental music creation of the 18th century. The book "Counterpoint" written by J.J. Fuchs in the 18th century classified counterpoint techniques into five categories, each of which is based on a fixed tune: the first category uses 1 whole note against 1 whole note; The third category uses 2 half notes to 1 whole note; the third category uses 4 quarter notes to 1 whole note; the fourth category uses the syncopated rhythm of 2 quarter notes to 1 whole note; the fifth category uses Mixed rhythms are as opposed to 1 whole note. In some textbooks after the 19th century, some still use this classification method as the basis for exercises, but the scope of chord application, the rules of part progression, etc. have been changed accordingly; some have abandoned the classification exercises and directly used mixed rhythm The tunes are in harmony with each other; some advocate using concise harmonic progressions as the basis to decorate each part with flowing rhythm. Counterpoint types [Edit this paragraph] 1 Polyphonic music is a combination of several independent melody parts, also known as "counterpoint", which means point to point, tone to tone. Therefore, the technical theory of polyphonic music is called "counterpoint." Classification of interval properties: According to the sense of hearing, it can be divided into two types: consonance and dissonance.

Consonant intervals are consonant, pure fifth octave, fully consonant, substantial consonance, major, minor, third, sixth, unstable consonance, pure fourth, soft dissonance, major second, minor seventh, dissonance, interval sharp dissonance, major seventh, minor second, warm ambiguous dissonance The relationship between the movement of two voices in increased four and minus five: (1) The two voices move in the same phase and in the same direction (2) The two voices move in parallel and equidistantly in the same direction (3) One voice moves diagonally and remains stationary The movement of another voice (4) The voices are interlaced and the two voices partially exchange their upper and lower positions (5) The movement of the voice beyond the position of the original combined voice is shown below: Simplified musical notation (note: there is a dot on 1 in the first line , there is a dot under 7 in the second line) Same direction 5――― 6――― 5――― 1――― 1――― 4――― 7――― 1――― Parallel (Note: First Line 12 has a dot on the sound) 1――― 2――― 7――― 1――― 3――― 4――― 2――― 3――― diagonally (note: the last two in the first line below The sound is 3 with a dot on 1) 3――― 5――― 5――― 3――― 1――― 1――― 1――― 3――― 3――― 3――― Reverse (Note: The first line below is all dotted) 3――― 2――― 1――― 3――― 4――― 3――― 5――― 6――― 5――― 4 ――― Interleave (Note: The voices in the second measure are interlaced, which is clearly visible on the staff) 6――― 3――― 6――― 1――― 5――― 4――― Beyond (note: the second Line 7 with a dot) 3――― 6――― 2――― 1――― 4――― 7――― 3 Basic principles and taboos of tone point combination and voice movement (1) Two voices The combination of parts is mainly consonant intervals, and the substantial consonant intervals (third and sixth degrees) are the most widely used and have the least restrictions. (2) The use of dissonant intervals should avoid the combination (collision) of sharp and ambiguous dissonant intervals such as (major seventh, minor second, augmented fourth, diminished fifth) on significant beats. (3) Oblique and reverse movements help to highlight the independence of the voice lines and are the most polyphonic. They are the main form of voice movement in polyphonic music. (4) It is difficult to show the independence of the voice lines when performed in parallel and in the same direction. Parallel progressions (parallel eighths and fifths) and co-directional progressions (eighth-fifths arriving in the same direction) of perfectly consonant intervals should be avoided as much as possible. (5) To maintain the smoothness of the melody line and the maintenance of tonal divisions, short-term vocal disinterlacing is allowed, but it should not be used excessively for a long time to maintain the clarity of the vocal lines. (6) Voice overtaking will interfere with the coherence of the melody line and should be avoided as much as possible. 4. These basic principles and related content in Taboo Healing Acoustics are universal, and this theoretical knowledge should be transformed into applied skills through practical writing exercises. Notes [Edit this paragraph] (1) Only fully consonant (same degree, pure eighty-fifth) and fully consonant (major and minor three-sixth) intervals are used for the time being, and the rest of the intervals are not used for the time being. (2) The sound of perfect consonance interval is relatively vague and should not be used too much. Care should be taken to avoid parallel progression and arrival in the same direction of such intervals. As follows: (Note: There is a dot on 3 in the first line) Flat five, Tong eight, Tong five 5--- 6--- 3--- 5--- 1--- 2--- 3--- 1-- ― (1) Three and six degrees are the main intervals used, but it is not advisable to have too many parallel intervals of the same type (such as parallel three and six degrees). Generally, it is limited to three consecutive times. Because there are too many consecutive parallels, it will be easily confused with the main musical texture, which will reduce the independence of the voice movement. (2) Pay attention to the interval relationship between the two parts and the progression of the parts, and try to take into account the naturalness and smoothness of the tone and the expression of modal and tonal factors. (3) The interleaving and overtaking of voices are not used for the time being. The positions of the sound areas of the two voices should be moderate and not too wide apart.

The following is the test sequence: 1 (Note: the second line is the bass score) 1- 1- 2- 1- 5- 4- 5- 3- 6- 3- 2- 3- 1- 2- 3- 6- (three Degrees) (sixth) (octave) (sixth) (fifth) (third) (third) (fifth) two (note: the second line is the bass spectrum, both lines have a dot on the 2) 2- 4- 5- 6- 7- 6- 5- 4- 2- 6- 7- 4- 5- 6- 7- 2- (octave) (sixth) (sixth) (third) (third (Octave) (Sixth) (Third) The following are exercises: (Treble question) Configure the counterpoint part below the part using one note for one note (1) 3- 1- 3- 2- 4- 3- 2- 1- (2) 1- 7- 6- 5- 6- 5- 4- 3- Note: The dot on 1 in the second item (bass question) is arranged one-to-one above the voice. Counterpoint parts (1) 3- 2- 1- 2- 3- 2- 1- 7- (2) 1- 5- 6- 5- 4- 3- 2- 1- Note: Article 1 is followed by 7 point. The second article is dotted under 56