Abstract
Drawing inspiration from both the classical Guerino Mazzola’s symmetry-based model for first-species counterpoint (one note against one note) and Johann Joseph Fux’s Gradus ad Parnassum, we propose an extension for second-species (two notes against one note).
This work was partially supported by a grant from the Niels Hendrik Abel Board.
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1 Introduction
Guerino Mazzola’s counterpoint model, founded on the concepts of
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1.
strong dichotomy, which encodes the notion of consonance and dissonance, and
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counterpoint symmetry, which is the carrier of contrapuntal tension and allows to deduce the rules of counterpoint,
has been successful in explaining the necessity of regarding the fourth as a dissonance and obtaining the general prohibition of parallel fifths and tritone skips as a theorem. It also allows to define new understandings of consonance and dissonance, thereby leading to the concept of counterpoint world, i.e., paradigms for the handling of two-voice compositions represented as digraphs, whose vertices are consonant intervals and an arrow connects two of them whenever we have a valid progression. This, in turn, allows us to morph one world into another. See the monograph [2] and the treatise [4, Part VII] for a thorough account.
Despite these accomplishments, Mazzola’s model is restricted to the case of first-species counterpoint, which means that only one note can be placed against another. Hence, in order to increase the potential of Mazzola’s model for analysis and composition, it is indispensable to extend it to second-species counterpoint (i.e., two notes against one) and further. Our approach for a first step in this direction is to extend the notion of counterpoint interval to a 2-interval, i.e., one such that two intervals are attached to a cantus firmus, the first one coming in the downbeat and the second one in the upbeat.
For our extension, the main idea is that the counterpoint symmetries in this case do not determine another 2-interval successor, but a first-species interval in the downbeat. The idea behind this is to blend the species of counterpoint more easily.
2 General Overview of Mazzola’s Counterpoint Model
Here we quickly survey the key aspects of Mazzola’s counterpoint model (we refer the reader to [2] and [4, Part VII] for a complete account). We consider the action of the group
(which we call the group of general affine symmetries) on \(\mathbb {Z}_{2k}\), which can be described in the following manner:
here \(T^{u}\) is the transposition by u, and v is the linear part of the transformation.
We know [1, 2] that, for any \(k>4\), there is at least one dichotomy \(\varDelta =(X/Y)\) of \(\mathbb {Z}_{2k}\) such that there is a unique \(p\in \overrightarrow{GL}(\mathbb {Z}_{2k})\) and
which is called the polarity of the dichotomy. The dichotomies with this property are called strong, and represent the division of intervals into generalized consonances X and dissonances Y.
Next we consider the dual numbers
in order to attach to each cantus firmus x the interval y that separates it from its discantusFootnote 1. Thus for a strong dichotomy \(\varDelta =(X/Y)\) we have the consonant intervals
and the dissonant intervals \(Y[\epsilon ]=\mathbb {Z}_{2k}\setminus X[\epsilon ]\). Considering the group
there is a canonical autocomplementary symmetry \(p_{\varDelta }^{c}\in \overrightarrow{GL}(\mathbb {Z}_{2k}[\epsilon ])\) such that
and leaves the tangent space \(c+\epsilon . \mathbb {Z}_{2k}\) invariant.
With this preamble it is possible to state a classical paradox for first-species counterpoint theory: all the intervals \(c+\epsilon .k\) used in a first-species counterpoint composition or improvisation are consonances. Hence, how can any tension between the voices arise, if at all? Mazzola’s solution is inspired in the fact [6, pp. 33–35] that it is not that the point c which is to be confronted against \(c+k\), but it is the consonant point \(\xi =c_{1}+\epsilon .k_{1}\) who will face a successor \(\eta =c_{2}+\epsilon .k_{2}\). The idea is to deform the dichotomy \((X[\epsilon ]/Y[\epsilon ])\) into \((gX[\epsilon ],gY[\epsilon ])\) through a symmetry \(g\in \overrightarrow{GL}(\mathbb {Z}_{2k}[\epsilon ])\), such that
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1.
the interval \(\xi \) becomes a deformed dissonance, i.e., \(\xi \in gY[\epsilon ]\),
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the symmetry \(p_{\varDelta }^{c}\) is an autocomplementary function of
$$ (gX[\epsilon ],gY[\epsilon ]) $$which means that \(p(gX[\epsilon ])=gY[\epsilon ]\),
and thus we can transit from \(\xi \) to a consonance \(\eta \) which is also a deformed consonance, i.e., \(\eta \in gX[\epsilon ]\cap X[\epsilon ]\). Since we wish to have the maximum amount of choices, we request also that
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3.
the set \(gX[\epsilon ]\cap X[\epsilon ]\) is of maximum cardinality among the symmetries that satisfy conditions 1 and 2.
The elements of this latter set are the admitted successors.
3 Dichotomies of 2-Intervals
For the purposes of the second-species counterpoint, we need now an algebraic structure such that two intervals can be attached to a base tone. In the spirit of the model presented in the previous section, we take all the polynomials of the formFootnote 2
where \(\epsilon _{1}\equiv \mathcal {X} \bmod \langle \mathcal {X}^{2},\mathcal {Y}^{2},\mathcal {XY}\rangle \), \(\epsilon _{2}\equiv \mathcal {Y} \bmod \langle \mathcal {X}^{2},\mathcal {Y}^{2},\mathcal {XY}\rangle \), c is the cantus firmus and x, y are the intervals (x is for the downbeat and y is for the upbeat). An element \(\xi \in \mathbb {Z}_{2k}[\epsilon _{1},\epsilon _{2}]\) is called a 2-interval. If \(\varDelta =(X/Y)\) is a strong dichotomy with polarity \(p=T^{u}\circ v\), then
is an dichotomy in \(\mathbb {Z}_{2k}[\epsilon _{1},\epsilon _{2}]\). We choose this dichotomy because the rules of counterpoint demand that the interval that comes on the downbeat to be a consonance. A polarity for this dichotomy, which is analogous to the one for the first-species case, is
because
and it is such that
which means \(p^{c}\) fixes the tangent space to cantus firmus c as well.
We also check the following formula for future use:
4 Species Projections
If we represent the polynomial \(c+\epsilon _{1}.x+\epsilon _{2}.y\) as a column vector, the candidates to (non-invertible) species projections are
for we want to keep it as simple as possible and that the upbeat of the first interval to influence the downbeat of the successor, but not its upbeat one. We do not require the transformation to be bijective for we want it to be able to swap from second-species to first-species if necessaryFootnote 3.
Definition 1
A matrix of the form that appears in a species projection is called a projection matrix.
Let \(X[\epsilon _{1},\epsilon _{2}.y] := \mathbb {Z}_{2k}+\epsilon _{1}.X+\epsilon _{2}.y\). We might define a counterpoint projection of a 2-interval \(\xi = c+\epsilon _{1}.x+ \epsilon _{2}.y\) as one such that
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1.
the condition \(c+\epsilon _{1}.x \notin gX[\epsilon _{1},\epsilon _{2}.y]\) holds,
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2.
the square
(3)commutes, where
$$ p_{\varDelta }^{c}:=T^{c(1-v)+\epsilon _{1}.u}\circ v $$is the canonical polarity of \((X[\epsilon _{1}]/Y[\epsilon _{1}])\), and
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3.
the cardinality of \(gX[\epsilon _{1},\epsilon _{2}.y]\cap X[\epsilon _{1}]\) is maximal among the projections with the previous properties.
The reason for the second requirement is that when it is fulfilled then
thus \(p^{c}_{\varDelta }\) is an autocomplementary function of \(gX[\epsilon _{1},\epsilon _{2}]\).
5 Algorithm for the Calculation of Projections
As with the first-species case, if for a projection of the form
where M is a projection matrix, we define
then the relation
holds, and hence contrapuntal projections can be calculated with cantus firmus 0 and successors can be suitably adjusted [2, Theorem 2.2].
Remark 1
The groups
are subgroups of the group of automorphisms of \(X[\epsilon _{1}]\) and \(X[\epsilon _{1},\epsilon _{2}]\), respectively.
The following identities are needed for the simplification of the calculation of contrapuntal symmetries.
Lemma 1
For a species projection of the form \(g = T^{\epsilon _{1}.t_{2}}\circ M\) the following holds:
Proof
The first identity is straightforward:
For the second identity, note that
using (4) and Remark 1. The case for \(Y[\epsilon _{1},\epsilon _{2}]\) is proved mutatis mutandis. \(\square \)
Remark 2
If we have a species projection of the form \(g=T^{z+\epsilon _{1}.t}\circ M\), then we define \(f=T^{\epsilon _{1}.t}\circ M\) and thus \(g = T^{z}\circ f\). Using Lemma 1, we have
This means that in our discussion it suffices to consider projections whose translational part has zero non-dual component.
The following pair of results reduce the amount of computations required to obtain counterpoint projections.
Lemma 2
Let \(\xi = x+\epsilon _{1}.k\), g a species projection, and \(z\in \mathbb {Z}_{2k}\). If
then
Furthermore,
and, in particular,
Proof
Since \(T^{z}\) is a symmetry of \(g(X[\epsilon _{1},\epsilon _{2}])\), it follows that \(T^{z}(\xi )\notin T^{z}(g(X[\epsilon _{1},\epsilon _{2}]))\). Now, using (1),
From Remark 1 it follows that
since \(T^{z}\) is bijective. \(\square \)
Theorem 1
If \(\xi = x+\epsilon _{1}.k+\epsilon _{2}.z\in X[\epsilon _{1},\epsilon _{2}]\) and \(g=T^{t_{1}+\epsilon _{1}.t_{2}}\circ M\) is any species projection that satisfies the counterpoint conditions, then there is a species projection \(h=T^{\epsilon _{1}.t}\circ M\) such that it also satisfies the counterpoint conditions for \(\xi \). Moreover: in order to verify that the conditions also hold for h, it suffices to check them for the 2-interval \(\epsilon _{1}.k+\epsilon _{2}.z\), the projection \(h^{(x)}\) and the polarity \(p_{\varDelta }^{0}\).
Proof
The replacement of g follows from Remark 2. By Lemma 1, we have
Using Lemma 2 with \(z=-x\), we can verify that h is a counterpoint projection using \(h^{(x)}\) with the interval \(T^{-x}(\xi ) = \epsilon _{1}.k+\epsilon _{2}.z\) and the polarity \(p_{\varDelta }^{-x+x} = p_{\varDelta }^{0}\). From Lemma 2 it also follows that
which implies that any cardinalities computation we need to perform with h will be the same than doing them with \(h^{(x)}\). \(\square \)
Therefore, we can set \(t_{1}=0\) and work with intervals of the form \(\xi = \epsilon _{1}.y+\epsilon _{2}.z\). For (3) to commute, it is necessary and sufficient that
For \(\epsilon _{1}.y \notin gX[\epsilon _{1},\epsilon _{2}.z]\) we need
for some \(\ell \in X\). Hence, for some \(\ell \in X\) we have
Remark 3
Letting \(w_{2}=0\) in (5) and (6), they reduce to the first-species case. Thus, taking \(s=v\) and \(\ell = y\) both are satisfied and hence we conclude that there exists at least one second-species counterpoint projection.
We only need to work with the following set
to calculate the following cardinality
When (6) holds, this reduces to
From now on we only need to adapt mutatis mutandis Hichert’s algorithm [2, Algorithm 2.1] to search projections that maximize the intersection.
We must remark that (5) and (6) are perturbations of the conditions to find the counterpoint symmetries for the first-species case. These, together with (7), show that the conditions for deducing a counterpoint theorem [2, Theorem 2.3] hold again, which yields the following result.
Theorem 2
Given a marked strong dichotomy (X/Y) in \(\mathbb {Z}_{2k}\), the 2-interval \(\xi \in X[\epsilon _{1},\epsilon _{2}]\) has at least \(k^{2}\) and at most \(2k^{2}-k\) admitted successors given by a single counterpoint projection.
Example 1
The first (validFootnote 4) example of second-species counterpoint in the Gradus ad Parnassum [3, p. 45] is (see Fig. 1)
Some counterpoint projections for the successors are
Let us examine in little bit more of detail the first transition. Note that \(\eta =11+\epsilon _{1}.4+\epsilon _{2}.11\) is a consonance, and that
which justifies the fact that the 2-interval \(5+\epsilon _{1}.4+\epsilon _{2}.6\) is an admitted successor.
6 Comparison with Fux’s Approach
Fux states the following in relation to second-species counterpoint (emphasis is our own) [3, p. 41]:
The second species results when two half notes are set against a whole note. The first of them comes on the downbeat and must always be consonant; the second comes on the upbeat and it may be dissonant if it moves from the preceding note and to the following note stepwise. However, if it moves by a skip, it must be consonant.
We codedFootnote 5 in Octave the calculation of counterpoint projections for the Fuxian (K/D) dichotomy and some more to compare the performance between “restricted” Fux rules against the projection model. More explicitly, taking a second-species step
such that we can proceed (in first-species) from \(0+\epsilon _{1}.k_{1}\) to \(c_{2}+\epsilon _{1}.k_{2}\), we verify the following cases:
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1.
the upbeat interval \(t_{1}\) of the first 2-interval is allowed to be dissonant only when it connects a valid progression of consonances stepwise, i.e., \(0+t_{1}\) is between \(0+k_{1}\) and \(c_{2}+k_{2}\) and it is separated at most 2 semitones from them and
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2.
if \(t_{1}\) is consonant, we duplicate the cantus firmus and check if \((0+\epsilon .k_{1},0+\epsilon .t_{1})\), \((0+\epsilon .t_{1},c_{2}+\epsilon .k_{2})\) and \((0+\epsilon .k_{1},0+\epsilon .k_{2})\) are valid first-species steps.
The results appear in Table 1 for cases 1 and 2.
We note that the number of cases the projection model cannot explain and only Fux can is relatively small: they amount to 6.8% and 4.1% for cases 1 and 2, respectively. Thus we can conclude that the vast majority of what is allowed by Fux’s rules is allowed by the projection model, or that we have successfully extended Fux’s handling of dissonance and consonance for second species. Even if this could be ascribed to the fact that the projection model admits 93.229% and 91.204% of the total of transitions in cases 1 and 2, respectively, it should be kept in mind that the original one-species model admits 89.671% of the possible steps between consonant intervals [5, p. 48].
Notes
- 1.
The discantus can be understood in the sweeping (\(x+y\)) or the hanging (\(x-y\)) orientations, but we will only use the sweeping orientation from this point on.
- 2.
The original inspiration for using dual numbers in counterpoint was the Zariski tangent space, thus the definition of the tangent space of a morphism of schemes can be seen as a cue to use this kind of algebraic structure for second-species. See [7] for details.
- 3.
For the converse swap the standard rules of counterpoint suffice: we can arbitrarily define the third component of the 2-interval. This is coherent with the local application of counterpoint rules in Fux’s theory, and also with the particular idea of projection that stems from the fact that, in order to analyze a fragment, we “disregard” notes on the upbeat [3, pp. 41–43].
- 4.
The first example is the student’s attempt to write a second-species discantus by himself, but he makes two mistakes near the end of the exercise, namely the steps from the sequence \(7+\epsilon _{1}.7+\epsilon _{2}.4\), \(5+\epsilon _{1}.7+\epsilon _{2}.4\), \(4+\epsilon _{1}.7+\epsilon _{2}.9\). They are also forbidden steps in the projection model!.
- 5.
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Acknowledgements
We thank the anonymous reviewers whose suggestions significantly improved the exposition and clarity of this paper.
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Agustín-Aquino, O.A., Mazzola, G. (2022). A Projection-Oriented Mathematical Model for Second-Species Counterpoint. In: Montiel, M., Agustín-Aquino, O.A., Gómez, F., Kastine, J., Lluis-Puebla, E., Milam, B. (eds) Mathematics and Computation in Music. MCM 2022. Lecture Notes in Computer Science(), vol 13267. Springer, Cham. https://doi.org/10.1007/978-3-031-07015-0_7
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