#Cantus firmus

[garadinervi]

Bridget Riley, Untitled (Related to 'Cantus Firmus' series and 'Halcyon'), (pencil and gouache on graph paper), 1972-1973 [Berggruen Gallery, San Francisco, CA. © Bridget Riley]

[landrysg]

Have you heard Mass today?

Guillaume Dufay (1397 - 1474), Missa L'Homme Armé

Nicely performed by the Oxford Camerata in 1994. This recording starts with a rendition of "L'Homme Armé," the cantus firmus on which Dufay's Mass is based.

[prommethium]

Tag game time!!

Rules: “spell out your url with song titles, then tag as many people as there are letters in your url.”

P.    Prestige - Howard Harper Barnes

R.    Reqliquary: 1 Cantus firmus - Eshkeri

O.    Ocean Princes - Thomas Bergersen 

M.    Melodía Judía - Maurice Sklar

E.    Enemies to lovers - Joshua Kyan Alampour

T.    The snowstorm II Waltz - George Sviridov // The Four Seasons: Winter, 1 Allegro non molto - Vivaldi

H.    Harry in Winter - Patrick Doyle 

I.      In Notem - Nicholas Hooper // I Will Find You - Harry Lightfoot

U     Una Noche de Luces -  Trevor Kowalski

M.   Midnight's Tale - Adrian Von Ziegler

 @fismoll7secinv​ Yzz!! Mi amor, Thank you for the tag!! 💛💛💛

And now 😈 tagging the last 10 persons who gave a note ✨ @quilleth​ @marlenahluna​  @bingpup-enjoyer ​  @shooting-the-stars​  @sophie--pie​ @sweetcheriwine​ @icarus-suraki​ @birbfeeder2artisticboogaloo @chifuyuuuuuuu-simp​ @lazy-girl-susd  Please do not feel obligated, so much love to all of you 💖

🍃 Made a little thing, bc they were so pretty ✨The thing

[caroloftheshells]

students are writing a cantus firmus (which is a melody you use for the basis of bigger pieces of music, basically a musical line to write other lines against later). and so far they’re great! but it is also so funny how many of them have autocorrected to “cactus” in the title / file name. even in my own notes app i have “grade cactus firms” as a to-do item

[ansgar-skoda]

Konzertbericht: Romanische Nacht 2024 in der Kölner Basilika St. Maria im Kapitol. O Ewigkeit (12.6.2024)

Fotos 1-3: "... et vitam venturi saeculi", Bonner Kammerchor unter der Leitung von Georg Hage mit Frank Martins "Messe" für Doppelchor a capella (1922/1926)

Foto 4-5: "... in stiller ewiger Klarheit..." Minguet Quartett mit Luigi Nonos "Fragmente - Stille, An Diotima" für Streichquartett (1979/80)

Foto 6-7: "Cantus firmus" Cinquecento [Countertenor Terry Wey, Tenöre Achim Schulz und Tore Tom Denys, Bariton Tim Scott Whiteley und Bass Ulfried Staber] mit Guillaume Dufays "Missa Se la face ay pale" und A-capella-Werken von Heinrich Isaac

Fotos 8-11: "Bach to the roots" Uwaga [Instrumentalquartett mit Violine, Jazzgeige, Akkordeon und Kontrabass] mit Johann Sebastian Bach in Durchleuchtungen und Grenzüberschreitungen zwischen Klassik, Jazz, Pop und Balkan

Foto 12-13: "Glauben und Hoffen" Vokal Trio Insingizzi [Dumisani >Ramadu< Moyo, Gesang Perkussion, Blessings >Nqo< Nkomo, Gesang, Shakers, Vusa Mkhaya Ndlovu, Gesang] mit polyphonem A-capella-Gesang im Imbude Stil der Ndebele aus dem Süden von Simbabwe

[tye-wig-music]

All star but it’s a renaissance cantus firmus mass in the style of josquin

[werewolvesandaccordions]

Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written to defy the Catholic Church’s “ban” on polyphony. That never happened though, despite how often that story continues to be taught as fact. While it may be popular for a ‘wrong’ reason, the ‘right’ reason should be it’s beauty and free counterpoint. Free because, unlike other masses he wrote, Palestrina did not use a cantus firmus to organize the music, and he didn’t use any other works as models, nor did he use parody. Instead each movement of the mass is free-composed. That’s led people to criticize it for not being “thematically coherent”, but I think the feeling of a natural flow individual voices gives it a gorgeous atmosphere. Stay tuned for more A Cappella Week, here on Musica in Extenso, – Nick O., Guest Editor

musicainextenso: Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written…

[dariaandjanelanefanboy]

Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written to defy the Catholic Church’s “ban” on polyphony. That never happened though, despite how often that story continues to be taught as fact. While it may be popular for a ‘wrong’ reason, the ‘right’ reason should be it’s beauty and free counterpoint. Free because, unlike other masses he wrote, Palestrina did not use a cantus firmus to organize the music, and he didn’t use any other works as models, nor did he use parody. Instead each movement of the mass is free-composed. That’s led people to criticize it for not being “thematically coherent”, but I think the feeling of a natural flow individual voices gives it a gorgeous atmosphere. Stay tuned for more A Cappella Week, here on Musica in Extenso, – Nick O., Guest Editor

musicainextenso: Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written…

[tinas-art]

Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written to defy the Catholic Church’s “ban” on polyphony. That never happened though, despite how often that story continues to be taught as fact. While it may be popular for a ‘wrong’ reason, the ‘right’ reason should be it’s beauty and free counterpoint. Free because, unlike other masses he wrote, Palestrina did not use a cantus firmus to organize the music, and he didn’t use any other works as models, nor did he use parody. Instead each movement of the mass is free-composed. That’s led people to criticize it for not being “thematically coherent”, but I think the feeling of a natural flow individual voices gives it a gorgeous atmosphere. Stay tuned for more A Cappella Week, here on Musica in Extenso, – Nick O., Guest Editor

musicainextenso: Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written…

[landrysg]

Have you heard Mass today?

John Taverner (1490-1545), "Westron Wynde" Mass

Nicely performed by the Tallis Scholars.

An interesting example of scholars working to reconstruct the cantus firmus from several masses based on the "Westron Wynde" tune.

[hushilda]

Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written to defy the Catholic Church’s “ban” on polyphony. That never happened though, despite how often that story continues to be taught as fact. While it may be popular for a ‘wrong’ reason, the ‘right’ reason should be it’s beauty and free counterpoint. Free because, unlike other masses he wrote, Palestrina did not use a cantus firmus to organize the music, and he didn’t use any other works as models, nor did he use parody. Instead each movement of the mass is free-composed. That’s led people to criticize it for not being “thematically coherent”, but I think the feeling of a natural flow individual voices gives it a gorgeous atmosphere. Stay tuned for more A Cappella Week, here on Musica in Extenso, – Nick O., Guest Editor

musicainextenso: Happy Tuesday everyone, here at musicainextenso it is our season finale we will be sharing a cappella music during the week. Today I wanted to share a famous Renaissance mass setting by the iconic Italian composer Giovanni Pierluigi da Palestrina. This mass, the “Missa Papae Marcelli”, for unknown reasons, became legendized as being written…

[emilymaddison1112]

Why was the motet important?

The motet has notably evolved from its origins in the Middle Ages.

1. Medieval motets: The motet first emerged in the thirteenth century as a mostly secular form, likely as an offshoot of what music historians call the Notre Dame school of composition. They likely derived from the clausula section of plainchant organums, an early form of a cappella vocal polyphony. Medieval secular motets were performed in different local languages over an isorhythmic cantus firmus (a fixed, preexisting melody). Typically the cantus firmus came from older Gregorian chants and was sung in Latin. Notable motet composers of this period include the French Philippe de Vitry and Guillaume de Machaut.

2. Renaissance motets: As Medieval motets gave way to Renaissance motets, they increasingly featured lyrics drawn from sacred texts. Instead of a Gregorian cantus firmus, Renaissance composers use antiphons (Latin text drawn from Christian liturgy). In many ways, the Renaissance motet became sacred music's answer to the madrigal, which was a popular form of polyphonic vocal music. Key Renaissance motet composers include Giovanni Pierluigi da Palestrina (an Italian of the Roman School of compositional technique), Josquin des Prez (a Frenchman of the Franco-Flemish School), Thomas Tallis (an Englishman), and Giovanni Gabrieli (an Italian of the Venetian School).

3. Baroque motets: The motet did not play the same prominent role in the Baroque era as it did in the Renaissance era, but several composers did embrace it. Most notably among these was J.S. Bach, who used sacred text in German and basso continuo for instrumental accompaniment. As with all of his works, Bach used the motet to display leading-edge techniques in contrapuntal compositions.

4. The Classical era and beyond: The motet has endured through the present day, although composers now enjoy many other polyphonic vocal forms to work from. Mozart composed a Classical-era motet, Ave verum corpus (K. 618), and nineteenth-century composers like Brahms, Bruckner, and Elgar also made use of the form. Avant-garde interpretations of the motet have periodically emerged in twentieth and twenty-first-century classical music.

When talking about the ancient music of the Renaissance, it generally referred to music that was sung in church services, but wasn’t part of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei). And since it was a setting of a religious text, it would not be confused with later musical developments that were more secular in nature, such as madrigals, or operas

To know more visit: https://chorsymphonica.org/what-is-a-motet/

[magdalenagigova]

Концерт за група и оркестър на Джон Лорд и музиката на Deep Purple

Концерт за група и оркестър на Джон Лорд и музиката на Deep Purple

Концерт за група и оркестър  на  Джон Лорд и музиката на Deep Purple Участват гостуващите звезди Брус Дикинсън, Джон О’Хара, Таня О’Калахан, Кайтнер З Дока, Бернхард Велц и CANTUS FIRMUS ORCHESTRA, с диригент Пол Ман Концерт за група и оркестър  на  Джон Лорд и музиката на Deep Purple Z-Rock и CANTUS FIRMUS представят уникално рок събитие с музиката на Джон Лорд и Deep Purple. Концертът с…

[cappella-martialis]

10/11 Dec 2022: THE ARMED MAN Music of Special Military Operations and Peace

While the world has enjoyed relative peace since the end of World War Two, recent conflicts have reminded us that war has been a perennial and constant worry for most of humanity’s existence. As with the plague, man’s hopes and fears have found both expression and solace in music.  Тhe late Mediæval popular song L’homme armé (The Armed Man) resonated with European listeners faced with constant wars that included the wars of religion between Catholics and Protestants, as well as the constant threat of Ottoman invasions. With the fall of Constantinople, a once great empire, L’homme armé became a socio-historical symbol for the vast European continent. Despite surviving with only one verse of its text, L’homme armé ended up being the single most-used musical theme (or cantus firmus) for polyphonic masses in the Renaissance period. Cristóbal de Morales’ Missa L’homme armé is a splendid example of this, having been composed for use by the Sistine Chapel Choir, arguably the most prestigious musical establishment in Europe in his time.  As with the war, the call of peace rings out just as strongly. For a counterpoint, we present various motets on the theme of peace by various Renaissance composers, including the motet O bone Jesu by Scottish composer Robert Carver, who lived through the religious turmoil of the Protestant Reformation. Despite not mentioning either war or peace, the piece constantly invokes the Holy Name, making it a cri de cœur for all times. As a reference to current conflicts, we present Pod tvoiu milost' by Ukrainian baroque composer Dmitrii Bortnianskii, who studied in Italy and later served in the St Petersburg court of Russian Empress Catherine, and is often called the Ukrainian Palestrina. Is peace in our time an attainable goal? Only time will tell. 

Tickets available on Eventbrite now! 

Saturday 10th & Sunday 11th Dec 2022, 7:30-9.00pm

[iannozzigiuseppe]

Fuad Rifka - L’ultima parola sul pane - Collana: Cantus firmus - Anima Mundi edizioni

Fuad Rifka – L’ultima parola sul pane – Collana: Cantus firmus – Anima Mundi edizioni

Fuad Rifka L’ultima parola sul pane Cantus firmus  – collana di poesia a cura di Franca Mancinelli e Rossana Abis  Traduzione di Piero Bruno, Adnan Haydar, Paolo Ruffilli e Aziz Shihab Introduzione di Tommaso Tiddia con tre ritratti fotografici di Dino Ignani e con un’intervista di Ottavio Rossani Anima Mundi edizioni “Nell’ora che il corpo sarà terra, la terra sabbia e polvere la…

[theferretgeneral]

First Species Counterpoint

(https://images.app.goo.gl/JrAgFS6weEXB3VnP7)

First species counterpoint is the simplest of all counterpoint. It consists of:

- Two or more voices (Only one for now)

- Notes of the same length

- Only consonances

To make sure we understand these terms, let’s review!

Consonances and Dissonances

There are two types of intervals: Consonant intervals and dissonant intervals. Consonances can be divided up into two sections: Perfect and imperfect. Perfect consonances are completely stable and pure. They consist of unisons, fifths, and octaves.

Imperfect consonances are less stable, but still consonant. They consist of thirds and sixths.

Dissonances are unstable and discordant. They consist of seconds and sevenths.

Fourths are a bit tricky. Sometimes they’re consonant and sometimes they’re dissonant.

Rules

In first species counterpoint, we are only allowed to use unisons, thirds, fifths, sixths, and octaves. We must start and end with a perfect consonance (unison, fifth, or octave). It is recommended that we use imperfect consonances in our counterpoint (except for the first and last note which must be a perfect consonance), though perfect consonances are acceptable.

When one moves into a perfect consonance, we must do so in contrary motion (two voices move in opposite directions).

Oblique motion (one voice moves while the other does not) and especially contrary motion should be employed as often as possible so we can more easily avoid mistakes.

A cantus firmus (A pre-written melody. See picture below) will be given. It will consist of only whole notes. One must write another voice above OR below the cantus firmus on a different staff. The voice you write is the counterpoint.

(It is not required, but it is helpful to label intervals between each voice.)

A cantus firmus written by Johann Joseph Fux in his book “Gradus ad Parnassum”:

(Notes if unreadable: D, F, E, D, G, F, A, G, F, E, D)

Example of counterpoint given by Fux:

(The numbers above the bottom staff are the intervals. The numbers above the top staff are the measure numbers.)

Remember the rules:

- Only consonances are allowed.

- One must begin and end on a perfect consonance (unison, fifth, octave).

- One must try to move as often as possible in contrary motion and oblique motion to make the voices sound independent from each other.

- No augmented or diminished intervals are allowed.

- No jumps greater than a fifth (except for the octave and minor sixth which should only be employed in an upward direction)

- Large jumps should try to be “recovered” so things don’t sound discombobulated (See example).

(The jump of an octave F to another F is “recovered” by “filling in the gap” afterwards.)

If there are any errors or anything I should add, please let me know! Thanks!

Sources:

Fux, Johann Joseph. Gradus ad Parnassum. Translated by Alfred Mann, W. W. Norton & Company, 1965.

“How to Compose 1:1 Counterpoint.” Youtube, uploaded by Jacob Gran, 31 March 2020, https://youtu.be/b5PoTBOj7Xc

Tchaikovsky, Pyorr Ilyitch. Guide to the Practical Study of Harmony. Dover Publications, 2013.