I have am going through Fux and have a question or two.
The most important one is –how do you pronounce his name? If I use the obvious pronunciation and say something like, "I'm reading Fux, it’s an instructional book" people might look at me funny .
Next question is this – in my reading I have seen reference to the Fux book containing chapters about imitation, double counterpoint and canon. The translation I have stops after doing the 5 species for up to 4 voices. Looking closely the book I have is called "counterpoint" and only claims to be an extract from the whole work "Gradus ad Parnassum". Does anybody know if there is a translation into English of the whole book?
I’m currently near the beginning working on the third species of two-voice counterpoint and hit upon a little question about interpretation. I started doing exercises based on what I though the rules were and then went back and studied his examples. From his examples I came up with a slightly different rule set than what I got from the text. Is the following correct?
Every measure must start with a consonance. In the third species any of the other three notes in a measure may be dissonant if it is entered by step from a consonance and exited by step to a consonance in the same direction. The cambiata is an exception were the dissonance is exited by a skip in the same direction (skip has to be a third?). Another exception (not given by Fux) is a downward run over a B from the sixth to the third, which contains a diminished fifth followed by a fourth (2 dissonances in a row).
Does the above look right? Taking notes from the text I extracted the following-
1. If 5 quarter notes in a row ascending or descending, the 1st, 3rd and 5th must be consonant but the 2nd and 4th may be dissonant.
2. In a 4 note group, if notes 1, 2 & 4 are consonant, the 3rd note may be dissonant (still has to be entered and exited with a step)
3. It is possible to skip from a dissonant 2nd note to a consonant 3rd note (cambiata).
-but what I wrote in the previous paragraph seems to fit the examples a little better.
Another question about this species deals with parallel and hidden fifths and octaves. To generalize for any note length, the way I interpret it from his examples is we only have to worry about the first note that is set against each note of the cf. Even here an intervening skip of greater than a third will nullify the effect. Is this right?
Thanks for any help.