contrepoint dans la music de gdmdit (b 1 l), shown in example 6a. example 6b parses the sonorities...

Contrepoint dans la musique de Guillaume de Machaut

Méthode analytique

a: T-Ca parsed

b: Dissonances eliminated I b

I

8 b-r

Key to * a. 'still in force' from 13.2 b. 'still in force' from 13.2

Example 1. Pour ce que tous (B 12) bars 13-14

As simple counterpoint does not include dissonances, the next stage of analysis requires that the dissonances be treated as surface decoration and eliminated (ex. lb). In some cases, as here in ex. 1, this may be suf- ficient to reveal a succession of dyads conforming to the rules of simple c~unterpoint .~~ The relationship between the parsed line and the underlying simple counterpoint (exx. l a and lb) provides evidence useful in assessing elements of style. In ex. 1, the cantus note e-fa23 in bar 13.224 is delayed as the cantus note of the previous consonance (d ' ) is held over from the beginning of the perfection; the consonant e'-fa, reached even- tually in the second semibreve of 13.2, is then ornamented in the last third of the basic rhythmic unit (in this case the long)25 by the neighbor notes d' and f '. The note e-fa then forms a dissonance with the tenor d at the start of the next perfection, where it functions as a brief neighbor note to the cantus note of the perfect consonance, d'. The contrapuntal importance of the e'-fa is disguised by the longer duration of its surrounding dissonances at the surface level of the music, as well as by its relatively weak mensural placement. The tenor c lasts two breves but is only pre- sented as consonant for one quarter of this time.26 While the contrapun- tally essential and consonant cantus note can be subject to playful weak- ening involving duration and mensural position (because its contrapuntal importance trumps these other factors), dissonances are positioned within the metrical hierarchy in a manner which reflects their temporal value.

I pi - tie nen a - 1 roit. I

T-Ca parsed

Consonant

progression

Example 3a. Helas tant (B2) final cadence

T-Ca parsed

Key to * a. line (descent from e'-fa)

Example 3b. De petit po ( B 18) ouvert cadence

a: T-Ca parsed

b: Dissonances eliminated I b

I

8 b-r

Key to * a. 'still in force' from 13.2 b. 'still in force' from 13.2

Example 1. Pour ce que tous (B 12) bars 13-14

As simple counterpoint does not include dissonances, the next stage of analysis requires that the dissonances be treated as surface decoration and eliminated (ex. lb). In some cases, as here in ex. 1, this may be suf- ficient to reveal a succession of dyads conforming to the rules of simple c~unterpoint .~~ The relationship between the parsed line and the underlying simple counterpoint (exx. l a and lb) provides evidence useful in assessing elements of style. In ex. 1, the cantus note e-fa23 in bar 13.224 is delayed as the cantus note of the previous consonance (d ' ) is held over from the beginning of the perfection; the consonant e'-fa, reached even- tually in the second semibreve of 13.2, is then ornamented in the last third of the basic rhythmic unit (in this case the long)25 by the neighbor notes d' and f '. The note e-fa then forms a dissonance with the tenor d at the start of the next perfection, where it functions as a brief neighbor note to the cantus note of the perfect consonance, d'. The contrapuntal importance of the e'-fa is disguised by the longer duration of its surrounding dissonances at the surface level of the music, as well as by its relatively weak mensural placement. The tenor c lasts two breves but is only pre- sented as consonant for one quarter of this time.26 While the contrapun- tally essential and consonant cantus note can be subject to playful weak- ening involving duration and mensural position (because its contrapuntal importance trumps these other factors), dissonances are positioned within the metrical hierarchy in a manner which reflects their temporal value.

a: T-Ca parsed

b: counterpoint showing expectation

c: underlying counterpoint A- -

Key to * a. 'still in force' from 13.2 (see ex. 1) b. 'still in force' from 13.2 (see ex. 1)

Example 5. Pour ce que tous (B12) bars 14-15

level. An example of this is the opening of the B section of Nen fait nen dit (B 1 l), shown in example 6a. Example 6b parses the sonorities of 6a and example 6c removes the dissonances. Not only are there no directed progressions (unusual for the opening of a B section) but the second tenor note is entirely di~sonant-~ and there are irreducible parallel fifths from bar 10.1 to 10.2 (the potential for a parallel fifth from the end of bar 9 into bar 10 can be removed by considering the sixth c'-a to be the contrapuntal interval of the tenor tone in bar 9.3, and c'-g' an ornamental consonance). The difficulty of constructing a theoretically correct contrapuntal background could point to a number of things: a manuscript error, incom- petence or a compositional error, or to a deliberate compositional effect wrought by breaking with received practice. In general, Machaut can be assumed to be at least competent, so the choice of diagnosis is either that of manuscript error or of deliberate compositional iconoclasm. While in- novative, Machaut's style as accessed through counterpoint analysis, seems to be largely free of parallel perfect intervals at the level of simple counterpoint. This, in combination with the similarly unprecedented breve-long fourth which lasts a whole tenor note which the tenor reaches by leap, strongly suggests manuscript error. In this case there is an answer:

a: Nen fair nen dir (B l l ) bars 9-10 10

, , 11 ' 5 Eins : : ye* , cuer

b: T-Ca paned

c: underlying counterpoint (with parallel perfect sonorities)

d: tenor ligatures in Vg and C

e: bars 9-10 in C 9 10 *a

Ca

-8 I I

f: T-Ca parsed

g: underlying counterpoint - 8

r-3 - - " r , : ;z -

Key to * a. directed progression b. 'still in force' from 9.2

Example 6. Nen fait nen dit (B11) bars 9-10

a: Nen fair nen dir (B l l ) bars 9-10 10

, , 11 ' 5 Eins : : ye* , cuer

b: T-Ca paned

c: underlying counterpoint (with parallel perfect sonorities)

d: tenor ligatures in Vg and C

e: bars 9-10 in C 9 10 *a

Ca

-8 I I

f: T-Ca parsed

g: underlying counterpoint - 8

r-3 - - " r , : ;z -

Key to * a. directed progression b. 'still in force' from 9.2

Example 6. Nen fait nen dit (B11) bars 9-10

5 . Non - ques en moy not 1 au - tre vo - len ! te. (etc.) n I . I I I I I

-8

a: T-Ca parsed

b: Dissonances eliminated

c: directed progressions identified h - - -

d: bars 18-22 with semitones marked

Key to * a. directed progression b. 'still in force' between a. and c . c. perfection of fifth formed with d d. directed progression

Example 4. Jaim miex (B7) opening of B section (line 5)

by the composer in order to mislead his audience is not required by a directed progression over adjacent tenor tones (since one does not irnrne- diately follow) and must be effected by a hexachordal sign. That a composer can be shown to play with the directed progression, contravening the spirit while keeping to the letter of the rules, suggests that counterpoint does indeed represent a fundamental "grammar."

Example 5 shows a passage from Pour ce que tous (B 12) overlapping and following from that given in ex. 1. The mi sign on the cantus b in bar

EXAMPLE 7. Comparison ofthe openings ofBI and BS

fI -------I'; 1 1

msa moors ne

3 Je sui cer

[ii] " T.

,\' 'Amour'

"

I Ri

..... 1 1

m Pleins ches da mour et de do lour et

fI I

T.

'\'

1 r

.. .. Jj I .. men-di ans da di - se leus da

I

1

fait_ teins_

par quil

b-mild# resolving to oie

I

-mi e rn Po i e 4 Long

1 r

...

S3 grace a - dOll -mi con-vient mo -

vres des - poir de meT - cy

I

contrepoint dans la music de gdmdit (b 1 l), shown in example 6a. example 6b parses the sonorities...

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