The Style of Palestrina and the Dissonance (Dover Books on Music) by KNUD JEPPESEN

Author:KNUD JEPPESEN [Jeppesen, Knud]
Language: eng
Format: epub
ISBN: 9780486171623
Publisher: Dover Publications
Published: 2012-11-16T02:00:00+00:00

“These notes (crotchets) must always be irreproachable, in their relation to the Bass; but notwithstanding this, they frequently make frightful collisions with each other. Now, of these collisions, the greatest of the Great Masters took no notice whatever. Provided their Florid Parts moved well with the Bass, they cared nothing for the crashes which took place between them.”

Whence Rockstro had his rule is unknown to me, perhaps he made it himself; but, strictly speaking, it need not be the consequence of passages like the above or others similar, cited by Rockstro. If the rule had been worded thus: “In crotchet note-against-note the dissonance may be employed, provided the colliding parts, considered individually, are each correctly treated”, then it would have met the requirements of Rockstro’s given instances. Thus, in P. XI, 148, 3, 4, the dissonant B in the upper voice (second note) is fully legitimate as a passing note, while the crotchet C in the lower voice, regarded under the view-point of cambiata, is likewise unrestrictedly justified. Both voices are quite correct if we conceive the dissonance as introduced over a stationary note. Perhaps it might be presumed that it was not considered necessary then, in the case of such short notes, to make a difference between this manner of treatment and note-against-note, and that it was only exacted that each of the implicated parts should keep strictly to the style with reference to dissonance treatment. That this presumption does not hold true altogether, is shown in places like the following:

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