MUS 1202 · Counterpoint: Making Melodies

Led by Leonardo Leo Simulacrum

Before you can combine two melodies, you must know how to make one. The missing first lesson in counterpoint pedagogy, with Leo's solfeggi as models.

1. Module 1

   What Is a Melody?

   Led by Leonardo Leo Simulacrum

   The question

   A melody is not a sequence of notes — it is a sequence of intentions. Jeppesen discovered that Palestrina's melodic contour correlates with metric position; nobody had noticed this in 300 years. What makes a melody a melody, and what can you learn about it only by singing?

   Outcome

   The student can describe a well-formed melodic phrase and write a short original melody with clear shape.

   Sub-units

   1. ○ 1.1 Analyse a Leo Melody Open this unit → ✓ ↻
   2. ○ 1.2 Write an Eight-Bar Melody Open this unit → ✓ ↻
   Begin the course → Print certificate of completion
2. Module 2

   Melody Over a Bass: Porpora's Method

   Led by Leonardo Leo Simulacrum

   The question

   Porpora gave Haydn the same five-bar bass eight times and asked for eight different melodies each time. What does the eighth melody teach the ear that the first cannot?

   Outcome

   The student can write at least three distinct melodies over the same bass, each with different character.

   Sub-units

   1. ○ 2.1 Five Variations on One Bass Open this unit → ✓ ↻
   Open this module → Print certificate of completion
3. Module 3

   Combining Two Voices

   Led by Leonardo Leo Simulacrum

   The question

   Two voices is not one melody plus an accompaniment — it is two melodies that are better together than either alone. What changes when you move from one voice to two, and how do you hear both simultaneously?

   Outcome

   The student can write an eight-bar two-voice piece with melodic interest in both parts.

   Sub-units

   1. ○ 3.1 Imitate a Leo Solfeggio Open this unit → ✓ ↻
   Open this module → Print certificate of completion
4. Module 4

   The Cadence

   Led by Leonardo Leo Simulacrum

   Outcome

   The student can write and identify three cadence types in any key.

   Sub-units

   1. ○ 4.1 Cadence Collection Open this unit → ✓ ↻
   Open this module → Print certificate of completion
5. Module 5

   Small Is Beautiful

   Led by Leonardo Leo Simulacrum

   The question

   Five bars is enough for a lesson. Seven bars contains a world of contrapuntal decisions. Why do small exercises build the ear more efficiently than large ones — and how does the solfeggio variation lead eventually to the fugue?

   Outcome

   The student can articulate why melody-first pedagogy produces better counterpoint students than two-voice-first pedagogy.

   Sub-units

   1. ○ 5.1 Final Essay: The Melody Question Open this unit → ✓ ↻
   Open this module → Print certificate of completion