GRATIS AD PARNASSUM

A Free Workbook for 18

th
-Century Counterpoint
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by Jonathan Kulp
GRATIS AD PARNASSUM
c 2009 by Jonathan Kulp
Released under the Creative Commons Attribution-Non-Commercial Share-Alike 3.0 license
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holder.
Nothing in this license impairs or restricts the authors moral rights.
Contents
Preface iii
1 Melody 1
Melody 1
Whats Wrong with This? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2 Two-Voice Counterpoint 3
3 1:1 Counterpoint 4
Exercises in 1:1 Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
4 2:1 Counterpoint 8
Whats Wrong with This? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Sneaky Parallels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Exercises in 2:1 Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5 Chromaticism in Two Voices 14
6 3:1 and 4:1 Counterpoint 17
3:1 Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Exercise 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Exercise 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Exercise 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Exercise 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Exercise 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Exercise 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4:1 Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Exercise 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Exercise 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Conversion of 1:1 to other species . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
7 Invertible Counterpoint and the Invention 25
ii
8 Counterpoint Projects 27
Cadences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Cadential Trills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Binary Dance Piece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Whats Wrong with This? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Two-Part Invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Choral Fugue Exposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Fugue Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Colophon 35
iii
Preface
I decided to write this workbook in response to the escalating price of textbooks. I found that
my students were paying upwards of $50 for a workbook with no more than fty pages in it,
and felt that I could probably write one just as good myself and give it to them for free. For
several years I have allowed my students to purchase old editions of Kennans Counterpoint
textbook,
1
and have been pleased that they can normally nd copies online for under $10.
Other than pagination, the old editions are practically identical to the most recent edition,
which now costs more than $120 at retail price. This workbook is not intended to be a
textbook. I include some text and tips and guidance, but I still require students to purchase
the Kennan textbook.
My decision to give the book away for free is the result of two inuences in my life. First
of all, the fact that I was recently granted tenure in my job at the University of Louisiana at
Lafayette means that the pressure to publish in the traditional sense is less severe. Secondly, I
have become fairly involved in the free and open-source software (a.k.a. FOSS) movement,
represented most visibly by the various avors of the GNU/Linux operating system, but
also by smaller projects and developers around the world who are devoted to producing
excellent software and sharing it freely with others.
One of the primary tenets of open-source development is that individual users may see
the source code and are free to make improvements upon it, but those improvements must
be shared back to the community. In that spirit I welcome contributions to this project in
the form of corrections, additions or other help. I encourage you to use the workbook as
you see t and to share it freely with anyone who wants it. In return I ask only that you
contact me and let me know if youre using it so that I can acknowledge this in the book and
so that hopefully my institutions administrators will see my works value to the academic
community.
I would like to thank the students in my Spring 2009 Counterpoint class for being guinea
pigs in using the rst version of this workbook: Nathan Abbott, Andy Angelle, Seth Bagwell,
Danny Devillier, Beverly Harlton, Brandon LeJeune, Tom Lyles, Nicholas Manzo, Sasha
Massey, and Leigh Stewart. Thanks yall!
JLK
1
Kent Kennan, Counterpoint, 4th ed. (Englewood Clis, NJ: Prentice-Hall, 1999).
iv
v
Chapter 1
Melody
Since counterpoint is by denition the combination of melodies, it goes without saying that
counterpoint is better when the melodies that comprise it are themselves good. According to
conventions of 18
th
century counterpoint, good melodies have the following characteristics:
Pleasing contour
Clear sense of direction
Climax point
Balance of steps and leaps
Logical harmonic implications
Tendency tones generally need to follow their tendencies:

7

1,

4

3
Minor modes: 1) Dont forget leading tone; 2) Use melodic and harmonic minor
scales as necessary
Rhythmic continuity
The preceding is a summary of what Kent Kennan says about melody in his textbook.
Please read this section of his book carefully! In addition to what Kennan says, I would make
the following observation about melodic leaps. Students frequently write melodies that leap
in the opposite direction just as the melody is about to arrive on a downbeat.
Figure 1.1: Melody leaping away before arriving on the downbeat.

4
2

While this is technically not wrong, I nd that it is more satisfying in most cases to let
the melody continue its descent and land naturally on the downbeat of the next measure
1
before leaping away in the opposite direction. Bachs melodies frequently do this and the
results are beautiful. I feel strongly that most of the time the melodies really want to land
on the downbeat instead of leaping away just before reaching it.
Figure 1.2: Melody lands naturally on downbeat and then leaps in opposite direction.

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2

Whats Wrong with This?

Try to nd all of the problems in the following examples.

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2
Chapter 2
Two-Voice Counterpoint
When writing two-voice counterpoint, several basic principles apply.
Both melodies should be good by themselves
Independence
Contrasting contours
Peaks and valleys happen at dierent times
Contrary Motion
Coherence
Enough in common that they belong together
Good harmonic implications
Rhythmic activity distributed evenly between the voices
3
Chapter 3
1:1 Counterpoint
Firstspecies counterpoint has one note in the added voice for each note in the cantus rmus.
It is in many ways the most challenging kind of counterpoint to write well. There are a
number of things to keep in mind when writing rst species counterpoint.
Each voice should be a good melody in itself.
Imperfect consonances should prevail, perfect intervals should be used with greatest
care, normally just as the rst and last sonorities in each exercise, or in passing on
weak beats.
While 3
rds
and 6
ths
are preferred, try to avoid having more than three in a row of either
interval.
Octaves and unisons should be avoided, since they disrupt the feeling of two voices.
Repeated notes are not allowed, as they essentially change the relationship of the voices
from 1:1 to 2:1.
1
Dissonance should be avoided except in rare circumstances.
2
Tips!
Play or sing through each cantus rmus three or four times before you try to write
any counterpoint against it. This will help form an idea as to what its harmonic
implications are.
Play through your completed exercises slowly and carefully on the piano to make sure
you have not used perfect intervals inappropriately. I say slowly because many
1
Kennan, Counterpoint, p. 37.
2
For example, I sometimes nd it nice to have a 7
th
at a cadence when the bass has a

5 to

1 motion and
the upper voice moves from

4 to

3.
4
students ears are not yet sensitized to the sound of perfect intervals and easily miss
them when played quickly.
If you nd yourself stuck and cant seem to go forward, try starting at the end and
working backwards. Make a good cadence and work backwards from there. Sometimes
this is very helpful.
Exercises in 1:1 Counterpoint
Exercise 1

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4

Exercise 2

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4
3

Exercise 3a

2
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2
4

5
Exercise 3b

2
4

2
4

Exercise 4a
4
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4

Exercise 4b

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4

Exercise 5

4
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3

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Exercise 6a

2
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2
2
Exercise 6b

2
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2
2

Exercise 7

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Exercise 8
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Chapter 4
2:1 Counterpoint
In second species counterpoint there are two notes in one voice for every note in the other.
This is one of the most common types of counterpoint. It oers much greater exibility than
rst-species counterpoint, since many types of non-chord tones are possible. The availability
of non-chord tones makes it much easier to write melodies with smooth contours as well.
As such, one should take advantage of this and avoid overly leapy melodies that studiously
avoid dissonance. Enjoy your newfound freedom to create dissonance! Here is an example
of a students way-too-leapy exercise.
Figure 4.1: Avoiding dissonance causes leapiness.
C.F.

To avoid leaping all over the place, use approved non-chord tones. These will help to
smooth out your melodies. For detailed explanations and examples of non-chord tones, see
your textbook, but here is a list of common non-chord tones.
Passing Tones
Neighbor Tones
Appoggiaturas
Escape Tones
Suspensions (discussed in 4
th
species counterpoint)
8
Anticipations
Heres a great example of Bach using my favorite nonchord tone, the accented passing
tone. Accented passing tones happen right on the beat, approached and resolved by step. I
strongly encourage their use!
Figure 4.2: Bach: Lute Suite no. 1 in E minor, Gigue, m. 1
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Whats Wrong with This?
Try to determine whats wrong in this example. This is a students homework in which there
are numerous failed attempts at using nonchord tones.
Figure 4.3: Faulty Nonchord Tones

C.F.

Sneaky Parallels
The problem that aicts more students than any other in 2:1 counterpoint is what I like to
call sneaky parallels. Sneaky parallels happen when the counterpoint is good on the beats,
but then on the obeat one of the voices makes a perfect interval with the other voice, and
then moves in parallel to the next beat, creating parallel perfect intervals. This happens
almost anywhere but most often at cadences. No matter how many times I warn students
about this, they always turn in plenty of sneaky parallels. Here is an example.
9
Figure 4.4: Sneaky parallel octaves

C.F.

(Doh!!)

Exercises in 2:1 Counterpoint

Unless otherwise indicated, write two notes in the added voice for each note in the cantus
rmus.
Exercise 1a

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2

Exercise 1b
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Exercise 2a

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Exercise 2b

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Exercise 3a

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Exercise 3b

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4
3

Exercise 4: When there are eighth notes in the cantus rmus, write quarter
notes in the added voice.

4
4

4
4

C.F.

Exercise 5: When there are eighth notes in the cantus rmus, write either quarter
or eighth notes in the added voice. Where there are quarters in the c.f., write
eighth notes in the added voice.
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Exercise 6: When there are eighth notes in the cantus rmus, write either quarter
or eighth notes in the added voice. Where there are quarters in the c.f., write
eighth notes in the added voice.

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Exercise 7: When there are sixteenth notes in the cantus rmus, write eighth
notes in the added voice.

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8
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Exercise 8: Use any combination of 2:1 or 1:1 counterpoint.
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Chapter 5
Chromaticism in Two Voices
Chromaticism is used either to imply harmonies outside the key or for melodic embellishment.
Here are suggestions for how to deal with chromatic pitches when you nd them in a cantus
rmus, or how to use them when writing your own counterpoint.
Treat a raised pitch as the third of a secondary dominantsupply either the root or
the 7
th
in your added voice.
The 7
th
creates a tritone and makes for strong harmonic movement.
Treat a lowered pitch as the 7
th
of a secondary dominantsupply third in your added
voice.
Be sure to make tendency tones follow their tendencies.
Raised pitches tend to move upward by step.
Lowered pitches tend to go down by step.
Leading tones (even temporary ones) must go up by step.
The 7
th
of a chord resolves downward by step.
Play through the cantus rmus three or four times to get a sense of its harmonic
implications before trying to write counterpoint against it.
14
Exercises with Chromaticism
Exercise 1a-1b
B.

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A.
Exercise 2
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Exercise 3

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Exercise 4: Added voice should have mostly 8ths and some quarter
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Exercise 5: Any ratio is ne. Where theres a sequence in the given
voice, use one in the added voice as well. Note that this example
modulates.

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Exercise 6: Any ratio is ne.

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3

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Chapter 6
3:1 and 4:1 Counterpoint
Third-species (3:1) counterpont is most often found in pieces having compound meters like
6
8
or
9
8
. Just as in 2:1 counterpoint, you are strongly encouraged to use dissonance (correctly!).
Tips & Warnings
Avoid stepwise motion followed by a leap in the same direction.
Watch out for sneaky parallels.
Dont revolve around the same pitches over and over.
Dont use too many dierent patterns in the same exercise.
No repeated tonesthese change the relationship from 3:1 to 2:1
Exercise 1: Write eighth notes against the cantus rmus.
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9

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9

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Exercise 2: Write eighth notes against the cantus rmus.
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Exercise 3: Write eighth notes against the cantus rmus.
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Exercise 4: Use any combination of 3:1 or 1:1 counterpoint.

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Exercise 5

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Exercise 6: Use any ratio of counterpoint.

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4:1 Counterpoint
The same principles apply in 4:1 counterpoint as in 3:1 and 2:1.
Exercise 1: Write sixteenth notes against the cantus rmus

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2

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2

Exercise 2: Write eighth notes against the cantus rmus

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4

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4

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Conversion of 1:1 to other species
Convert the following 1:1 counterpoint to other species. The rhythmic activity may be spread
between the voices but keep a steady stream of the smaller value of notes.
Basic 1:1 Counterpoint
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Convert to 2:1 Counterpoint

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Convert to 3:1 Counterpoint

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4
3

Convert to 4:1 Counterpoint

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3

4
3
21
Suspensions
One of the nicest ways to make counterpoint more interesting is to use suspensions. Any
time there are parallel thirds or sixths, it is not dicult to introduce 43 or 76 suspensions,
respectively. It is also possible to introduce 23 suspensions (where the suspended voice is
in the bass) when there are parallel thirds.
Change the following brief passages to include suspensions where possible.
Make Suspensions
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7-6
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Sequences
The Baroque aesthetic is based on unity of aect, such that a single musical idea is sustained
for the duration of a piece. Youll nd as a consequence that Baroque composers make
frequent use of sequential repetition to sustain and string out musical ideas and especially
to help eect modulations.
Complete the sequences in the following passages.
Exercise 1

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3

Exercise 2

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8
12

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Exercise 3
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Exercise 4

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Chapter 7
Invertible Counterpoint and the
Invention
Invertible counterpoint is counterpoint that works well no matter which way the voices
are situatedthe top voice could go on the bottom, the bottom could go on top, and it
would sound good either way. It is important to use imperfect intervals when writing invert-
ible counterpoint, as thirds become sixths and vice-versa. Likewise it is important to avoid
perfect intervals. Fourths become fths, and fths become fourths. In your project on writ-
ing Two-Part Inventions, you will have to use invertible counterpoint between your motive
and countermotive. Here are some exercises for writing such countermotives in invertible
counterpoint.
Write a counter-motive for each of the following motives.
Motive 1
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Motive 2
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Motive 3

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4

4
4
Allegro

Motive 4

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3

4
3
Andante

26
Chapter 8
Counterpoint Projects
One of the best ways to improve contrapuntal skills is to try your hand at writing a real
piece in 18th-century style. You will enjoy the freedom of being able to mix the species
of counterpoint you have practiced in the exercises, and you will begin to appreciate the
diculty of writing good melodies, cadences and modulations. In the counterpoint class I
took at the University of Texas we wrote ve pieces meant to approximate styles and genres
of the late baroque era:
1. Organ Variations
2. Binary Dance Piece
3. Two-Part Invention
4. Three-voice Fugue
5. Choral Fugue Exposition
The guidelines for each project are taken almost verbatim from those given to us by Dr.
Patrick McCreless, our instructor for the class.
A Note about Cadences
Many students have trouble writing eective cadences. Good cadences have the following
characteristics:
1. A strong harmonic progression
ii-V-I
IV-V-I
2. Clear denition by the bass line
3. Strong metric placement
27
Tips for Writing Cadential Trills
Trills start on upper note
A cadential trill typically ornaments a V harmony (sometimes with
6
4
harmonic orna-
mentation)
Trill happens on either the supertonic or leading tone in upper voice at a V-I cadence
Leading tone (3
rd
of a dominant harmony) is best in 2 voices
Supertonic (5
th
of a dominant harmony) sounds o.k. too
Trilled note often leads to an anticipation (type of non-chord tone).
Here are examples of cadential trills on both the leading tone and the supertonic. In each
case you can see how it is typically written in the score (with the Tr indication) and how
it might be realized by the performer. Notice the anticipation of the tonic in each case.
Figure 8.1: Cadential trill on the leading tone

Written

Played

Figure 8.2: Cadential trill on the supertonic

Played

Written

28
Project 1: Binary Dance Piece
Write a two-voice binary piece of at least twenty-four measures. Some specics:
The piece must be in a key with two or more sharps or ats in the key signature; it
may be in either major or minor mode.
It must be a continuous binary form: that is, if in major mode, it must modulate to V
at the cadence before the double bar; or if in minor mode, it must modulate to III.
It must be in rounded binary form.
In the section after the double bar, it must modulate to at least one other closely-
related key.
The phrasing should be generally regularfour-measure phrases should be the norm,
with occasional two- or six-measure phrases if you like.
Adjust the diculty of the piece to your compositional experience and ambition. If
you have written pieces like this before, try a Courante or Bourree in the style of the
Bach keyboard suites. If you have not, and if you nd the task dicult, write a Minuet
or other relatively straightforward dance piece.
Possible Dance Types for your project
Allemande
Courante
Sarabande
Minuet
Gavotte
Gigue
For characteristics of the various dance types, check The New Harvard Dictionary of
Music or The New Grove Dictionary of Music and Musicians, and perhaps look at some
of the suites of J.S. Bach. For whatever dance type you choose, it needs to have the right
characteristic meter, tempo, and rhythmic gestures. (If you call your piece a gigue, it needs
to sound like a gigue!)
29
Tip!
If you get into a jam, try working backwards. For example, if you know that you must have
a cadence that lands on V on the downbeat of m. 8, then write the V on the downbeat of m.
8. Next, sketch out a good harmonic progression for the bar preceding it and ll in the notes
that will make a convincing cadence. Working backwards like this you can quickly hook up
with the rst few bars you wrote.
Whats Wrong with This?
A couple of years ago I decided that I would share my students pain and write a binary
piece along with them when they were working on their projects. Since Im more experienced
than they are, I thought Id write a gigue, and it was going great until I got about 10 bars
into the piece and I gave up. See if you can see why I abandoned it, and better yet, how
can this piece be saved? Good luck!
Gigue in E-at Major
Jonathan Kulp
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30
Project 2: Two-Part Invention
Write a two-part invention in the style of Bach. Guidelines:
1. Use a short motive and countermotive in imitation at the beginning, and use the two
at least twice in invertible counterpoint later in the piece.
2. The piece should be at least sixteen measures long, with primary movement in sixteenth
notes.
3. The invention must modulate to V and articulate that motion with a standard cadence
within the rst ve or six measures. (Minor keys: to III or v)
4. The invention must modulate to two other closely-related keys after the modu-
lation to V (or III).
5. The invention must include at least one sequence in the middle section.
Keys to Success
Use Bachs Two-Part Inventions as models. Try to come up with a motive that is simple,
but has a distinctive character. Think in terms of long-range linear and tonal goals. Before
getting too deep into the piece, be sure that your motive and countermotive work perfectly
in invertible counterpoint. This will save you work later. Play the piece back often as you
go along so that you have a sense of how its progressing.
31
Project 3: Fugue
Write a three-voice fugue of twenty or more measures. Guidelines:
1. It must have a subject and two countersubjects, the three of which must work in triple
counterpoint. You must use this invertible counterpoint at least twice in the fugue, in
addition to its initial appearance.
2. You should have a recognizable, standard Baroque-style cadence in V (major keys) or
III (minor keys).
3. There must be a modulation to at least one closely-related key other than V (major
keys) or III (minor keys) in the middle section of the fugue. One such key must be
articulated by a cadence. You will be penalized for modulations to keys other than
closely-related keys.
4. The fugue must end with a conclusive, root position, V-I, standard, unmistakable
cadence. No wimpy nal cadences!
1
Suggestions
Do some analysis of Fugues from the Well-Tempered Clavier. The fugue in C minor
from Book I is a great example.
For episodes, take a fragment of your subject and use it in sequential repetition to
modulate to new keys.
Chapters 15-16 of the Kennan book should help answer questions about Fugue and
fugal procedures.
1
This was one of Dr. McCreless all-time great directives, given out of frustration with our lame cadences.
32
Project 4: Choral Fugue Exposition
Write the exposition of a four-voice choral fugue using the following text:
"Benedictus qui venit in nomine Domini"
Guidelines
1. The exposition should be in
4
4
time, with a subject of four measures. The subject
should begin somewhat slowly, but eventually move into 16th notes.
2. You should be sensitive to the fact that you are writing vocal music: the parts should
be in a singable vocal range, and should not be too disjunct, especially in sixteenth-note
passages.
3. There must be at least one countersubject. That is, each voice, after it states the
subject, must proceed to the countersubject. You do not have to have a second coun-
tersubject.
4. The voices may enter in any order
5. Once all four voices are in, proceed to a cadence in either the tonic or the dominant
(or III in minor keys). Also, once the four voices are in, do not drop any out.
6. The exposition should be about twenty measures long.
33
Project 5: Fugue Analysis
The nal project is an analysis of Bach fugue of your choice or one of the two fugues suggested
below from Book II of the WTC. I will provide you with an electronic copy of the suggested
pieces (.pdf format), as well as a recording thats available on the shared listening list.
What to nd and mark in the score
All appearances of the subject
All appearances of the countersubject (if any)
All appearances of the second and third countersubjects (if any)
In the exposition, label subjects and answers
Indicate whether its a tonal or real answer
Transformations of the subject
retrogrades, inversions, and augmentations
other tricks like stretto and stu like that
Mark o the episodes with brackets
Indicate where the melodic material of the episodes comes from, if its clear at all
Indicate key areas for each appearance of the subject
Suggested Fugues
1. WTC Book II, Fugue no. 5 in D major
34
Colophon
The main text of this book was typeset using the L
A
T
E
X typesetting engine. It is a free
program used by publishers in the elds of science and mathematics because of its excellent
output of formulae. I decided to use L
A
T
E
X for this project not only because of its beautiful
output, but also because it supports musical accidental symbols perfectly (,,) without
messing up line spacing. L
A
T
E
X also makes it easy to produce scale-degree numbers with the
little carets on top of them. For example

5 is produced simply by typing \^5. Its also easy
to create inline time signatures, such as
12
8
and
3
4
.
L
A
T
E
X integrates well with Lilypond, the free/open-source music-typesetting program I
used to create all of the musical examples and exercises in the book. Notes and all other
symbols are entered in plain text les, which are then compiled by the typesetting engine
and turned into images. Notes are entered by their names (a b c), and then durations (2
for half note, 8 for 8th, etc.), dynamics (\mp and \f in this example), articulations and other
objects are attached to the notes. The following simple snippet of Lilypond code shows these
features.
\relative c {
\key c \minor
\time 2/4
c16(\mp\< d es f g8)-. a16 b
c2\f
}
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For information about Lilypond visit http://lilypond.org. Lilypond runs on Linux,
Windows, and Mac platforms and is available for free download at the website.
35
Index
anticipations, 9, 28
appoggiaturas, 8
Bach, 9
Lute Suite no. 1, Gigue, 9
escape tones, 8
neighbor tones, 8
non-chord tones, 8
passing tones, 8
accented, 9
suspensions, 8
36