Modal Counterpoint in the Style of the 16th Century Prepared by Vaclav Nelhybel

Musician and educator Vaclav Nelhybel designed this instructional introduction to modal 16th-century counterpoint to explain the principles of two- , three- , and four-part counterpoint to students. Topics covered include tritones, the cantus firmus, consonance and dissonance, rhythmic emphasis, and double counterpoint; they are demonstrated with short example phrases and longer compositions by Palestrina and other 16th-century composers. The presentation is narrated by William Geib with Alexandre Barta on piano and a seven-member choral ensemble. Liner notes are a written transcription of the spoken instruction and include sheet music for played examples.
Track Listing
101
|
Introduction | William Geib | 2:57 | |
102
|
Modes | William Geib | 3:38 | |
103
|
Musica Ficta, Tritone | William Geib | 2:36 | |
104
|
Cadences | William Geib | 1:15 | |
105
|
Rhythm | William Geib | 1:35 | |
106
|
Melody | William Geib | 3:23 | |
107
|
Counterpoint in Two Parts: General Rules | William Geib | 6:49 | |
201
|
Species: Counterpoint in Two Parts | William Geib | 3:00 | |
202
|
Other Features: Counterpoint in Two Parts | William Geib | 2:11 | |
203
|
Counterpoint in Three Parts | William Geib | 4:40 | |
204
|
Counterpoint in Four Parts | William Geib | 2:28 | |
205
|
Double Counterpoint in the Octave: Two-Part | William Geib | 1:32 | |
206
|
Double Counterpoint in the Tenth: Two-Part | William Geib | 0:48 | |
207
|
Double Counterpoint in the Twelfth: Two-Part Double Counterpoint in Three Parts | William Geib | 2:10 | |
208
|
Homophony in Contrapuntal Composition: Free Application of Contrapuntal Technique | William Geib | 3:39 |