Counterpoint and Non-harmonic tone Arrangements on “Bungong Jeumpa” Song Arrangements Works of Paul

ABSTRACT


INTRODUCTION
Music as a human creation is built in two interrelated dimensions, namely time and space.The time dimension in music relates to rhythm as a collaboration of notation, beats, meter, tempo, and metronome.Notation in music is a symbol that represents duration.Beats indicate the underlying beat that occurs regularly in each note's sub-divisions.The meter is a determinant of the number of fixed beats in each measure room where one beat gets strong pressure.Tempo and metronome are estimates of the speed at which music is presented.On the other hand, the spatial dimension relates to the melody as a collaboration of tones, scales, pitch intervals, and chords.The tone is a regular sound according to the number of vibrations.Scales are a gradual arrangement of tones and have a spacing pattern.The pitch interval is the distance between one note and another.The key is a sign that indicates the tonal tone of a piece of music (Ottman, 1961;Jamalus, 1981;Lumbantoruan, 2021).
Musical compositions-instrumentals and/or vocals-constructed by the dimensions of space and time are open to composing or arranging from a monophonic texture to a polyphonic one.This means that a musical composition is initially in the form of just one melody line, which is then converted into several melodic lines by adding layers of other sounds, both rhythmically and melodically.However, composing instrumental music with vocal music is not the same, because apart from differences in sound sources and colours, the range of tones between the two is very different.
Composing or arranging vocal music from one melodic layer into several melodic layers is the activity of arranging different tones vertically.This is known as Counterpoint.Etymologically, Counterpoint according to the concept of Western music comes from the words counter and point or not against not, meaning the opposing tone vertically between a series of original melodic tones (Cantus Firmus = CF) with a composed tone according to modal or tonal Counterpoint provisions.Modal Counterpoint is a musical arrangement using a mode scale with several provisions, namely: a)notes with notes moving in opposite directions; b)the tone intervals used are consonant intervals-prime, third, fifth, and octave-and are occasionally interspersed with dissonant intervals, namely second, forth, septim; c)at the beginning and end of the melody must use consonant intervals, namely octave, prime, third; d)consonant intervals may not be repeated more than twice; e)avoid parallel fifth and octave intervals; f)the jumping note in CF is countered by stepping in the composed melody in a different direction, and g)the vertical tone relationship is not based on triads or chords in the harmony system.
On the other hand, tonal contrapunk is a musical arrangement using a major and/or minor diatonic scale.Melodic compositions of this type are arranged more freely both rhythmically and melodically and are based on a harmony system, namely chord progressions and triads.The pattern of melodic compositions with tonal Counterpoint, namely: a)the series of notes move in opposite directions, especially between the CF (Soprano) melody and the lowest melodic layer (Bass); b)the tone intervals used are a combination of consonant and dissonant intervals; c)avoiding parallel fifth and hidden octave intervals; d)if the jumping pitch in CF is countered by the melodic movement of the composition stepping in the opposite direction, or vice versa, and e)long duration notes in CF can be interleaved by groups of notes with rhythm and free melodies.
In line with the description above, (Øvrebø, 2022;Hafizhah, A. Y. 2022) suggests that in contemporary musical compositions, the texture is often used in a complex manner, with an innovative and experimental use of orchestration, layering and overdubbing techniques guided by the rules of Counterpoint.One example of the work of composer Terry Riley often uses loop and overdubbing techniques in his music, thus creating a complex and multilayered musical texture.This technique occurs in modern music, especially vocal music.
Vocal music compositions (songs) become innovative and experimental when developed with overdubbing techniques.This technique is done by composing additional melodies outside of the original melodies with the same or different rhythms.When composing additional melodies, the rhythm sequences and additional melodies are distinguished from the original melodies.However, the insertion of a group of tones in vocal music compositions is not as free as in instrumental music compositions, because the range of vocal music tones is limited.Under these conditions, the texture of vocal music is simpler because it is framed by a limited sound range.
Vocalia's musical arrangement from monophonic texture to polyphony is based on the range and type of human voice that uses it.The usual polyphonic texture for a choir or choir of the same type and/or mix is a type of homophony.In this regard, (Banoe;2003: 30;Prier, 1996) suggests that the texture of homophonic polyphony is governed by several provisions, namely: a)the pitch distance between the main melody and the second and third melody lines does not exceed one octave; b)avoid overlapping; c)it is mandatory to use a double third interval if the song uses a minor scale; d)may not use double thirds in songs using a major scale; e)avoiding fifth and octave parallels; f)avoid hidden parallels; and g)avoiding tritone intervals.
The arrangement of the song is based on CF with the usual texture with a linearity technique approach and chord progression as the background.Linearity technique is the presence of rhythmic and melodic balance between the original melody and the additions that are framed by musical elements on one side.On the other hand, the chord progression from the beginning to the end of the song is the basis for additional melodic processing.With these two things, the texture of the polyphonic arrangement uses the overdubbing technique by paying attention to the movement of notes or motus, namely: parallellus, contrarious, obliqus and rectus in a vertical order (Ferdian, R., Sinaga, F.S.S., & Putra. A.D. 2021).
The overdubbing technique is done by inserting or adding one or a group of connecting notes between adjacent harmonic tones (HT) which will produce a dissonant and/or consonant sound.A dissonant sound can be a different note than the two notes that flank it.Meanwhile, a consonant sound is a tone similar to the one that clasps it.These two types of sound, apart from avoiding the impression of monotonous and parallel rhythms, also function as a means of enhancing the expressiveness and harmony of music which is more counterpunctic.
The inset tone between HTs is called a non-harmonic tone (NHT).The characteristics of NHT are short in duration, creating a momentary tense atmosphere, located between HT on the upper and/or lower beats, not part of the song's chord triad.The types of NHT that are commonly applied in song arrangements are: passing tone, neighbouring tone, suspension, retardation, anticipation, appoggiatura, escaped tone, changing tone, and pedal point.(Ottman, 1961;Lumbantoruan, 2021: 145-149).
The characteristics of the NHT can be identified by its position, motion and direction.The position or location of the NHT between the HTs is whether it's on the up-beat or downbeat.In terms of motion, is the movement of the NHT from the previous tone to the intended tone, is it approached by stepping and then resolved by stepping too, whether approached by stepping then dissolved by jumping or vice versa.From the direction or side of the solution, NHT moves in the direction or opposite of HT.The presence of NHT in a series of HT tones can be explained by the fact that the arrangement of NHT in a song arrangement is well composed so that the dimensions of time and space in the composition of the music are more counterpunches, balanced and harmonious.
One of the arrangers that is well-known in the Indonesian community is Paul Widyawan.The songs arranged were not only Indonesian folk songs, but also spiritual songs, especially Catholic church songs.The composition of the song is arranged in a Counterpoint arrangement based on CF and NHT arrangement horizontally and vertically on each melody line.
An archipelago folk song by arrangement by Paul Widyawan is a "Bungong Jeumpa" song that grows and develops in the Aceh region.Qualitatively, the song was positively appreciated by musicians and artists, both inside and outside the Aceh region because it contains the value of good musical beauty.Quantitatively, it is often displayed at official events at the national level, in formal educational institutions starting from elementary to higher education.
The Counterpoint used to arrange "Bungong Jeumpa" song is tonal conterpoint.There are four important aspects that are guided by the arrangement of tonal Counterpoint, namely: a)the type of scale or scale used; b)the form of arrangement based on Cantus Firmus as the foundation for composing additional melodies according to chord progressions and tritones; c)identify the melodic rhythm construction horizontally from each melodic line or contour, and d)to then analyze the melodic contour relationship vertically in order to find out the types of Motus in the existing composition.
Then, in composing additional melodies, the melodic rhythms are the same and some are different because they are based on conterpoint.When there is a difference in rhythm, it is a sign that there is an NHT insertion tone.The NHT arrangement of the "Bungong Jeumpa" song arrangement will be traced on each horizontal melodic contour to determine the name and type based on position or location, motion, and direction or solution.
Starting from the description above, the researcher is interested in knowing and describing How the Counterpoint and Non-harmonic tones are arranged in the "Bungong Jeumpa" Song Arrangement by Paul Widyawan?

METHOD
This type of research is qualitative research with a content analysis approach that is descriptive in nature.Muhadjir (1996: 49) states that content analysis suggests three stages, namely: objectivity, systematic, and generalization.Objectivity is an analysis of the form of the arrangement, analysis of the types of contradiction, and analysis of NHT using the score of the song "Bungong Jeumpa" by Paul Widyawan according to the concept and theory of each indicator.Systematic, namely the analysis is carried out sequentially, namely: (a) analysis of the form of the arrangement of the song according to the type of voice to see the relationship between the series of notes between the CF melody line and the additions.(b) analysis of the contrast between CF melodies and additional melodic compositions to find out the types of Motus according to the pitch movement of each melody line, and (c) analysis of the NHT types of each melodic vocal line horizontally based on their position, motion, and direction, (d) analysis of the types and forms of NHT vertically.The generalization is the conclusion of the arrangement of the arrangement, contrapoit, and NHT of Paul Widyawan's "Bungong Jeumpa" song.

RESULT AND DISCUSSION
"Bungong Jeumpa" is a song composition using a scale based on the concept of Western music.The texture of the "Bungong Jeumpa" song is a polyphony of the homophonic type, with four melodic contours.The development of the melodic harmonic tones into four melodic lines is based on CF using overdubbing techniques according to the concept of arrangement and Counterpoint as well as chord dilators and tritones.The series of tones on each melody line form a melodic contour so that the type of Motus used in the arrangement or Counterpoint can be identified.Between the series of HT notes on each melody line, there are additional notes, apart from functioning as a connecting tone, these notes may or may not be members of the chords and triads that frame them.The types and forms of NHT are based on the position, motion and direction of each melody line.Before explaining the arrangement, counterpoint, motus, and non-harmonic tone of "Bungong Jeumpa" song, a transcript of the score is first shown, as follows.

"Bungong Jeumpa" Song Scale
Based on the identification and analysis, "Bungong Jeumpa"'s song uses a diatonic minor tone scale, a harmonic minor type with an A tonal tone.The tone scale is classified as a heptatonic scale because there are seven notes in total.The hallmark of a harmonic minor is that the seventh note of the tonal note is raised a half step or note.In the A scale, the G as the seventh level is raised half to a G# (read gis).The sequence of notes with spacing patterns in the harmonic minor scale, namely: A -B -C -D -E -F -G# -A with spacing patterns, namely: 1 -½ -1 -1 -½ -1½ -½.
The ambitus or range of pitch or sound between the Bass and the Soprano is two and a half octaves apart, starting from the A note on the Bass to the e2 note on the Soprano.
2. Arrangement, Counterpoint, and the motive for the "Bungong Jeumpa" song a. "Bungong Jeumpa" song arrangement "Bungong Jeumpa"'s song is arranged into a polyphonic texture with a homophonic type based on CF based on chords and tritones.The composition of the "Bungong Jeumpa" song has more than one layer of melodic contours, so it is categorized as a type of polyphony.The "Bungong Jeumpa" song composition consists of four layers of melody, namely the first layer is CF for Soprano sound, the second layer is for Alto, the third layer is Tenor, and the fourth layer is for Bass sound.If we trace the vertical relationship of the four layers of the melody, it is the frame of the major and minor triads.Thus the type of "Bungong Jeumpa" song polyphony is homophony.
Judging from the type of SATB voice, "Bungong Jeumpa"'s song is arranged well and does not make it difficult for singers to reach perfect and high-pitch jumps, both for the Soprano voice, namely a2 and for the Bass, namely F. The highest note for the Soprano song is the note e2 or one forth below the tone a2.The lowest note for Bass is the tone A or onethird above the tone F. Based on this description and the researcher's analysis, arrangers provide an opportunity for beginners who are not yet professionals to be able to learn the songs they arrange.
The arrangement of the song "Bungong Jeumpa" and the form of SATB is based on chord progressions from the beginning to the end of the song.The movement of each note in CF is an absolute guideline for additional notes in a vertical order.CF-usually positioned in the Soprano voice-has a close relationship with other melodies.However, in certain parts, the CF for the "Bungong Jeumpa" song was moved to the Tenor voice.When CF was moved, Alto, Soprano and Bass melodies were composed according to certain rules while still being guided by arrangement rules and the concept of chord triads.The relationship between notes vertically does not overlap, where the tone of the lower layer is higher than the melody above or vice versa.
The arrangement of the "Bungong Jeumpa" song is composed into three major parts, namely: intro, content, and coda.In the intro section, at the beginning of the song, there are 8 bars.The content of the song is further divided into several parts, namely: (a) First, seven bars of 9 to 16 CF are positioned for the Soprano voice.Second, measures 17 to 24 CF are positioned for the Tenor voice.Third measures 25 to 28 return CF for the Sopranos.Fourth  E -G# -B -D).This arrangement also uses a lot of third notes as the root as a feature of songs using a minor scale.

b. Counterpoint song "Bungong Jeumpa"
Counterpoint arrangements in songs are related to time and space.The movement of additional rhythms and melodies is said to be free-moving, but still tied to the same meter or measure of the song, that is, isometer, not freemeters or polymeters.The existence of such melodic rhythm movements is a description or essence of the Counterpoint system in song compositions that apply the overdubbing technique.Additional melodic rhythms are attempted so that they are not the same as the CF melodic rhythms.In certain song phrases, the melodic rhythm is more dense or dense, while in other phrases it is less or tenuous.Cantus Firmus is countered by three additional melodies of different time and space, as well as different pitch intervals.
The arrangement of the rhythm of the "Bungong Jeumpa" song, between the rhythms of CF and the others, moves in the same rhythm and some with different patterns.The rhythm of the four voices is framed by the song's meter or measure in the same basic beat, totalling four beats.The same rhythm occurs when the individual notes are strung together in similar forms and note values.However, at certain times there is a difference, where one note in one voice is accompanied by two or three notes in the other sound.
Spatial arrangement in terms of tone per note, motifs, phrases, and melodic cycles with each other is arranged according to the same principle.Arrangement of the song's Counterpoint between each note is a start to explore the tone's Counterpoint in the next arrangement.There are two types of Counterpoint songs for "Bungong Jeumpa", namely unison and polison.Unison is formed by the same tone interval, namely prime and or octave.Polysons are formed from different tones but are framed by tritones using third, fifth, and seventh intervals.
The difference in pitch on each melodic contour of the song is a transformation of the chord journey which is based on triads.An indication of the occurrence of different tones in each melodic contour is that the level and quality of the tritones are different.Based on the identification of the melodic intervals and grooves or contours in the song, it can be explained that the "Bungong Jeumpa" song, arranged by Paul Widyawan, is included in the tonal contrapunction with free Counterpoints because the Cantus Firmus rhythm with additional melody moves freely but is bound by time, space, and chord triads.

c. Motus song "Bungong Jeumpa"
Based on the identification and analysis of the Counterpoint of the four melodic lines, it can be seen that the pitch movement of each sound has created a different melodic contour or groove.Alasis motus is carried out in stages and is always based on the CF contour with three additional melodic contours, namely: Soprano with Alto, Soprano with Tenor, and Soprano with Bass.
First, CF with melodic contours of the Alto voice.The movement of the Alto tone tends to move along with the CF marked by the dominance of the third interval between the two voices.For example, if the note "a" is in CF, then one-third below it is the note "f" for the Alto sound.However, there are also other intervals, for example, the note "a" in CF is paired with the tone "e" in Alto with the fourth interval.With this interval pattern, the movement of Alto and CF using Motus parallellus is coloured with motus obliqus.Second, CF with Tenor melody contours.Tenor tone movements are less patterned because the melodic plot is constructed from the accumulation of fifth, octave consonant intervals and coloured fourth or sixth dissonant intervals.With this arrangement of intervals, the melodic contours between the two Soprano and Tenor voices are less clearly defined.Thus it can be explained that the movement of CF notes with the Tenor is an accumulation of Motus parallellus, obliqus, and rectus.
Third, CF with melodic Bass contours.Bass tone movement is generally in the opposite direction.The tonal resistance between the two melodic lines is very clear, namely: a)CF notes move up, Bass notes move down.Vice versa; b)When the CF notes jump, the Bass notes move with steps.Vice versa; c)When the CF note jumps or steps, the Bass note is held on the same note.But it also happens at certain beats that the CF melody contour moves the same as the Bass melody contour.Thus it can be concluded that the tone movement between CF and Bass is Dominant with motus contrarius and colored with motus obliqus and motus parallellus, and motus rectus.

Non-harmonic tone "Bungong Jeumpa" song
Tones outside of harmonic tones framed by chord triads are non-harmonic tones.The types and forms of non-harmonic tones used in the "Bungong Jeumpa" song arrangement are passing tones, appoggiatura, changing tones, neighbouring tones, and retardation.

a. NHT on Soprano melodies
The number of NHT in the Soprano melodic contour is 6 in the measure chambers 7, 10, 12, 14, 17 and 27, as follows.
The type of NHT in measure rooms 7 and 10 is appoggiatura because the NHT movement is approached by stepping a second apart, and then it is resolved by jumping in a different direction.The type of NHT in room 12 is a changing tone because the HT tone that is approached is the same tone.
The first dissonant note is stepped by a second distance The second dissonant note is a third distance from the first dissonant in the opposite direction, where the dissonant note is found by stepping.The type of NHT in space 14 is a neighbouring tone -a type of upper neighbouring tone (UPT) because its position is above the beat of the connected consonant note.
The type of NHT in space 17 is a neighbouring tone-type of lower neighbouring tone (UPT) because its position is below the beat of the connected consonant note.The type of NHT in room 27, first is a type of retardation because the position of the dissonant note precedes or delays the consonant note which is located on the top beat.In the same measure, there is also an NHT type of changing tone because the HT tone that is approached is the same tone.The first dissonant note is stepped by a second distance The second dissonant note is a third distance from the first dissonant in the opposite direction, where the dissonant note is found by stepping.

b. NHT on Alto melodies
There are 4 types of NHT in the Alto melodic contour, found in the 6th, 12th, 26th, and 30th measure rooms, as follows.The type of NHT in the 6th measure is retardation because NHT suspends the consonant tone and is located on the bottom beat.The movement and direction of the NHT are approached by stepping a second away towards the tone above it.
The type of NHT in space 12 is a neighbouring tone -a type of upper neighbouring tone (UPT) because its position is above the beat of the connected consonant note.The type of NHT in room 26 is a passing tone because of the position of the dissonant note between the consonant notes, the motion is approached by stepping and is resolved by also stepping in the same direction.The type of NHT in space 30 is a neighbouring tone -a type of lower neighbouring tone (UPT) because its position is below the beat of the connected consonant note.
The type of NHT in room 8 is a changing tone because the HT tone that is approached is the same tone.The first dissonant note is stepped by a second distance The second note is a third distance from the first dissonant in the opposite direction, where the dissonant note is found by stepping.
The type of NHT in measure 10 and 14 is a different type of NHT than the existing types.NHT is in the lower consonants and beats.The identity of the NHT in the barometer room is not clear.The type of NHT in room 12 is a passing tone because the position of the dissonant note between the consonant notes moves in the same direction, is approached by stepping and is resolved by also stepping in the same direction.The NHT type in room 20 and 26 is a changing tone because the HT tone that is approached is the same tone.The first dissonant note is stepped a second apart.The second dissonant note is third with the first dissonant and opposite in direction, where the dissonant note is found by stepping.

d. NHT on Bass melodies
There are 5 types of NHT in the Bass melodic contour, found in the 6th, 7th, 10th, 11th, and 26th measures as follows.
The type of NHT in room 6 is a passing tone because of the position of the dissonant note between the consonant notes, the motion is approached by stepping and is resolved by also stepping in the same direction.The type of NHT in room 7 is a changing tone because the HT tone that is approached is the same.The first dissonant note is stepped a second apart.
The second dissonant note is second apart from the first dissonant and goes in the opposite direction.Tones encountered dissonant notes by stepping.The NHT type in room 10 is a passing tone because of the position of the dissonant note between the consonant notes, the motion is approached by stepping and is resolved by also stepping in the same direction.The type of NHT in room 11 is a passing tone because of the position of the dissonant note between the consonant notes, the motion is approached by stepping and is resolved by also stepping in the same direction.The type of NHT in the 26th measure is retardation because NHT suspends the consonant tone and is located on the bottom beat.The movement and direction of the NHT are approached by stepping a second away towards the tone above it.