Understanding Counterpoint Overview
Understanding Counterpoint Overview
Understanding Counterpoint Overview
Elizabeth Colpitts
part of the Notes to Teacher (below) Table of Contents Introduction Chapter One: first page only Chapter One Review: all Chapter Two: first two pages Chapter Three: first two pages Chapter Four: first two pages Chapter Five: first two pages Chapter Six: first two pages Chapter Seven: first two pages Chapter Eight: first two pages Chapter Eight Review: all Chapter Nine: first two pages Chapter Ten: first two pages
Understanding Counterpoint was developed to help students prepare for the Counterpoint examination offered by the Royal Conservatory of Music of Canada and the National Music Certificate Program in the U.S.A. This edition is based on the requirements of the 2009 Theory Syllabus.
Chapter Notes
Chapter One: Writing Melodies This chapter is about writing melodies in Baroque style. Much of the material also applies to bass lines, usually to a lesser extent. If you can write an effective Baroque melody, a bass line should not present new challenges. Chapter Two: Writing 1:1 Counterpoint This chapter introduces the simplest type of counterpoint, 1:1 counterpoint. The principles learned here form a foundation for future composition in more elaborate styles. Chapter Three: Writing 2:1 Counterpoint This chapter introduces 2:1 counterpoint, a ratio of counterpoint that appears frequently in Baroque dances. The guidelines for writing 2:1 counterpoint are also applicable to the other types of counterpoint in the rest of the text, including free counterpoint. Chapter Four: Other Types of Counterpoint This chapter introduces 3:1, 4:1 and free counterpoint. It includes information about characteristics of dances, some of which is review from rudiments and harmony courses. (This chapter will also be a useful resource for students later on if they go on to prepare for the Advanced Harmony examination.) By the end of this chapter, students should be well prepared for the composition assignments in the following chapter. Chapter Five: Writing Dances This chapter guides students through the process of completing a partly composed dance. The current syllabus requires the student to complete a bass line below a given melody, so most of the questions take that form. However, in the figured bass portion of the exam, the student may be asked to complete a melody. Thus, the last two questions have a given bass line and the assignment is to complete the melody. In this chapter only, the simple instructions come first and the more detailed instructions follow afterwards. After the information about dances in Chapter Four, students may be ready to try writing a dance with a minimum of assistance. Chapter Six: Handling Accidentals This chapter expands the students ability to handle notes with accidentals in the given line in an exam question. In a complete dance, the reasons for accidentals are usually not too difficult to figure out. In an exam question where only part of a dance is given, it can be tricky to figure out the reason for an accidental. Developing skill in this area will help students work efficiently in an exam setting. Chapter Seven: Invertible Counterpoint A knowledge of invertible counterpoint will be useful when students study fugue in Chapters Eight and Nine. Chapter Eight: The Fugue This chapter introduces the analysis of a fugue exposition, using fugues from The Well-Tempered Clavier as examples. (Students will also find this chapter useful when they prepare for the Analysis exam.) Chapter Nine: Writing Fugues This chapter describes how to finish a partly written fugue exposition.
Chapter Ten: Figured Bass Accompaniment This chapter contains guidelines for writing a realization of a figured bass. Figured bass realization is primarily about adding chords above a given bass line. Many of the elements of figured bass will already be familiar to students from their study of harmony. Students will likely find figured bass easier if they think of it as re-visiting the concepts learned for writing four-part harmony rather than an entirely new subject. Appendices Use Appendices One, Two and Three for review and reference as needed. Online Appendices in the Extras Section at counterpoint.duetsoftware.net The Inventions Appendix is available in the Extras section at our website. It is included because inventions are a type of contrapuntal piece that students usually encounter before they play fugues. As well, a question about inventions might appear on a counterpoint exam. The Game Cards Appendix includes the game cards from the ends of each chapter and some additional game cards to use when students play Contrapunctus with non-counterpoint students.
A Final Word
Understanding Counterpoint provides clear and comprehensive instruction in counterpoint and figured bass. The text includes useful techniques and helpful guidelines as well as rules to abide by. Its hard to overestimate the importance of playing the work and using the ear as a guide to revision. Students who combine application of the rules and guidelines with attention to how the music sounds will achieve excellent success in counterpoint. Elizabeth Colpitts, B. Mus., U.B.C.
[email protected]
Table of Contents
Foreword to Teachers Introduction Part One: Writing Counterpoint Chapter One Chapter Two Chapter Three Writing Melodies Writing 1:1 Counterpoint Writing 2:1 Counterpoint 2 53 86 1
Part Two: Writing Contrapuntal Dances Chapter Four Chapter Five Chapter Six Other Types of Counterpoint Writing Dances Handling Accidentals 116 161 189
Part Three: Analyzing and Writing Fugues Chapter Seven Chapter Eight Chapter Nine Invertible Counterpoint The Fugue Writing Fugues 210 227 264
Part Four: The Art of Figured Bass Chapter Ten Appendices Appendix One Appendix Two Appendix Three Bibliography Index
Online Appendices are available in the Extras section at counterpoint.duetsoftware.net. To obtain the password for the Extras section, email your request to [email protected].
284
Introduction
Counterpoint is music written as a combination of two or more melodic lines. During the Baroque era (1600 1750), composers became highly skilled at combining melodic lines as counterpoint. We will use the style of that time as our model. In effective counterpoint, each individual line sounds good and the lines complement each other when played together. For example, in the following phrase from Minuet in D Minor the melody and bass line are well-shaped lines. Each line sounds good when played alone. When they are played together, the lines form beautiful counterpoint.
Minuet in D Minor attr. to J. S. Bach
Did you play the phrase from Minuet in D Minor ? As you go through this book, it is important to play the music. Play both the given examples and the music that you compose. The more examples of counterpoint you play, the better you will become at hearing contrapuntal music in your head just by looking at the score. Soon, you will be able to use this skill of inner hearing to help you compose good counterpoint in situations where you cannot play the music on an instrument, such as on a counterpoint exam. Play everything!
Whats the point of learning counterpoint? By the end of this course you will be able to:
compose contrapuntal music in Baroque style better understand the contrapuntal pieces by Baroque composers that you play apply much of what you learn about Baroque counterpoint to the music that you play and compose in other styles succeed on counterpoint exams.
Stepwise movement is also called conjunct movement. We describe melodic movement by a third or more as movement by leap. For example, the following melody moves entirely by leap:
Example 2
Movement by leap is also called disjunct movement. A good melody usually has a mix of steps and leaps and may also include some repeated notes. 1. For the following melodies, identify the type of movement between the notes. a. Write s for step, l for leap, or r for repeated note. * b. Count the steps, leaps, and repeated notes. The first one is done as an example.
Example: l s s s s l Minuet in G Major r l l s s s s l Petzold r 8 steps 5 leaps 2 repeated notes Minuet J. S. Bach ___ steps ___ leaps ___ repeated notes
A.
/1
2. Which of the following melodies has a more effective shape and use of rhythm? (Circle A or B.)
A.
B.
3. Which of the following melodies features a high point later in the phrase? (Circle A or B.) /1
A. J. S. Bach
Handel B.
4. Which of the following melodies features quicker rhythms on weak beats to propel the rhythm forward? (Circle A or B.) /1
J. S. Bach A.
Handel B.
5. Check the box for the correct answer: /4 a. When a melody leaps by a seventh it should leap: a minor seventh a major seventh b. True or False: When the melody moves between the leading note and the subdominant note, the interval may be an awkward augmented fourth or an acceptable diminished fifth. True False c. If a melody is in a minor key, avoid melodic augmented seconds between the submediant and the leading note by: using notes from the harmonic minor scale using notes from the melodic minor scale d. In the key of B Minor or B Major, avoid leaping an augmented fourth from: G# to C# D to G E to A# F# to B /8 6. The following melodies contain augmented seconds and augmented fourths. For each one: a. name the key b. circle each pair of notes that forms an augmented interval and mark it wrong with an x. There may be more than one augmented interval in an example.
A. Key: _________ B. Key: _________ C. Key: _________ D. Key: _________
7. Fill in the following keys chart: /14 Key Signature No sharps or flats 1 sharp 2 sharps 3 sharps 4 sharps 5 sharps 6 sharps 7 sharps Major Key C Major Minor Key A Minor
/10
Telemann
Bonus question: In Gigue in question 8, write bar numbers in the boxes on the score. /1
* One of the ways to learn to write counterpoint is to play contrapuntal pieces, observing and absorbing the style. At the end of each chapter review, there will be a contrapuntal piece to learn.
In Chapter One, we saw that melodies are based on the chord progressions learned in four-part harmony. When two or more melodic lines are combined, the resulting counterpoint is also based on these chord progressions. Example 2 shows a phrase in 1:1 counterpoint with the underlying chords identified with Roman numerals. The chords reflect the pattern of tonic - pre-dominant - dominant - tonic.* They change at appropriate times, forming convincing harmonic rhythm.
Example 2
G Major
V6
I6
IV IV6 V
A Three-Part Method
Simple Minuet is a typical question in a counterpoint exercise in which one line is given and the assignment is to write another line.
Sample Question: Complete this phrase of counterpoint in 1:1 ratio by writing a melody on the treble staff. Simple Minuet
In this section, a three-part method for doing this type of question will be demonstrated. In Part One, the harmony is planned. In Part Two, the counterpoint is completed. In Part Three, the work is checked and revisions are made.* Part One: Plan the Harmony To plan the harmony: a. name the key b. write a chord chart for the key in the margin c. write Roman numerals under the bass line: create good harmonic rhythm often choose root position or first inversion triads choose chords that reflect the pattern tonic - pre-dominant - dominant - tonic choose chords for a perfect or imperfect cadence at the end of the phrase. Heres Simple Minuet with Part One completed:
Example 3 Simple Minuet
Chord Chart F Major
I FAC ii(7) GBD(F) iii ACE IV BDF V(7) CEG(B) vi DFA vii EGB
F Major
I viio6 I
V6 V V6
V6 I 5
V
L.N.= E
Part Two: Complete the Counterpoint To write the melody: a. use notes from the chords you named with Roman numerals b. write the same rhythm as the bass line c. for any seventh chord, resolve the seventh down by step to the next melody note d. usually avoid repeated notes (in this ratio). Heres Simple Minuet with Part Two completed.
Example 4 Simple Minuet
Chord Chart F Major
I FAC ii(7) GBD(F) iii ACE IV BDF V(7) CEG(B) vi DFA vii EGB
F Major
I viio6 I
V6 V V6
V6 I 5
L.N.= E
* This method of prepare, compose, check and revise is the suggested procedure throughout the book. The instructions will be modified to suit the type of question but the basic procedure will be the same.
D Minor Example 1b
viio6
i6
iv6
Sperletti
A Minor i
i6
V V6 V6 V 4
In 1:1 counterpoint, both lines consist of chord notes. In 2:1 counterpoint, the slower moving line consists of chord notes and the faster moving line includes both chord notes and non-chord notes*. In the faster moving line, the first note of each pair is typically a chord note written on the beat. The second note of the pair is either another chord note or a non-chord note. In Examples 1a and 1b, the non-chord notes are circled. In Examples 2a and 2b, the fragments from Examples 1a and 1b are shown again with the non-chord notes identified as passing notes and accented passing notes.
Example 2a pn pn apn
Handel pn apn pn
D Minor i *
viio6
i6
iv6
Some theorists use other terms such as nonharmonic tones to refer to the notes that are not from the underlying chord.
pn
pn
A Minor i
i6
V V6 V6 V 4
1. For these fragments of 2:1 counterpoint, circle the non-chord notes and identify them as passing notes and neighbour notes*.
A.
pn
D Major
V7
B.
G Minor
i6
V6
V4 2
Example 1b
The faster moving line may be the melody or the bass line.
Example 2
Each three-note group in the faster moving line will have either all chord notes or a mix of chord notes and non-chord notes. 1. For each of these phrases of 3:1 counterpoint: a. name the key b. write Roman numerals under the bass line c. circle and identify the non-chord notes d. name the vertical intervals, putting parentheses around the numbers for intervals involving non-chord notes.
pn
A.
3 8 (2)
Key: _____ I
B.
Key: ______
Base each group of notes in the faster moving line on one chord. (In this ratio, they are groups of three notes.) Write chord notes and non-chord notes. Often write chord notes on beats. Create vertical intervals between chord notes according to the guidelines. Resolve non-chord notes correctly. Most types resolve by step. Either begin with a 1:1 framework and convert it to 3:1 counterpoint or write 3:1 counterpoint directly, without reference to a 1:1 version.
Using Perfect Intervals in 3:1 Counterpoint In 3:1 counterpoint, we follow the guidelines from page 101 for the use of perfect intervals. 1. Approach each perfect unison, fifth and octave by contrary or oblique motion. You may approach the perfect fifth or perfect octave by similar motion if the melody moves by step. 2. Dont use two perfect unisons, fifths or octaves in a row. For example, these are wrong:
8 8
3. If a beat starts with a perfect unison, fifth or octave, dont use that interval anywhere in the preceding beat. 3 3
8 P
Form: ______________
Name the key. Write an Italian term for the tempo. Name each cadence (type and key). Name the form. Complete the bass line. Minuet
Tempo: ______________
Key: _______
Part Two - Compose the Line a. b. c. d. e. f. g. h. Create appropriate vertical intervals. Create a variety of motion between the lines. Handle simultaneous leaps in both lines well. (Contrary motion is often a good choice.) Write a zig-zaggy bass line. Handle melodic intervals in the bass line well. (Approach/leave large leaps well. Avoid intervals larger than an octave, major sevenths and augmented intervals.) Add accidentals for modulation as needed. Add accidentals for a minor key as needed. Write a line that interacts well rhythmically with the given line. Part Three - Check and Revise a. b. c. Name all vertical intervals. Fix any errors in their use. Use Dance Checklist One on page 167 as a guide to checking and revision. Re-read the instructions for the question and check off each item.
A pivot chord is a chord common to both keys that is used in a modulation. It is usually a pre-dominant chord in the new key.
Gavotte
Samuel Arnold
C Major 5
13
13 17
Sometimes, accidentals reflect the fact that the passage is in a minor key. Another common reason for accidentals is to reflect modulation. However, in Gavotte, there are no passages in minor keys and the modulation to G Major accounts for only two of the eight accidentals, the F#s in bar 6 and bar 9. Why did the composer write the other accidentals? This chapter looks at how to interpret notes with accidentals when you encounter them in a dance on a counterpoint question.
F Major
C Major Perfect Cadence in G Major Perfect Cadence in C Major Example 2b: Accidental for the sixth or seventh scale degree in a minor key Minuet J. S. Bach
G Minor * These six are common, but they are not the only possible reasons for accidentals. Other possibilities include viio7 in major keys (needs an accidental on the seventh) and the picardy third (the raised third that creates a major triad as the last chord of a piece in a minor key).
In Example 1b, the melody line was written an octave lower on the bass clef staff and the bass line was written an octave higher on the treble clef staff. To invert counterpoint, we move the melody line lower, the bass line higher, or both.
Here are Example 1a and its inversion, 1b, with the vertical intervals named (see Examples 1c and 1d).
Example 1c Example 1d
3 (2) 6
x4 6
6 (7) 3
o5 3
In this inverted version of the phrase, the lines have each moved an octave and changed places.
Example 2b The inverted phrase Bass line written an octave higher on the treble clef staff. Melody line written an octave lower on the bass clef staff
1. Invert this phrase of counterpoint. a. Write the bass line an octave higher on the treble clef staff. b. Write the melody line an octave lower on the bass clef staff.
Voices
The lines of a fugue are called voices. We name the voices after the singing ranges: soprano, alto, tenor and bass. Most fugues are written in three or four voices. Four-voice Fugues In a four-voice fugue, the two higher voices, the soprano and alto, are usually written on the top staff and the two lower voices, the tenor and bass, are usually written on the bottom staff (see Example 1).
Example 1 Excerpt from a four-voice Fugue Soprano (stems up) Alto (stems down) Tenor (stems up) Bass (stems down)
1. Answer these questions about Example 1: a. What are the first three notes in the tenor voice?__________ b. What note is a unison shared by the soprano and alto voices? _____ Three-voice Fugues In a three-voice fugue, the soprano voice is written on the top staff and the bass voice is written on the bottom staff. The middle voice, the alto, is written on the top staff when it has higher notes and on the bottom staff when it has lower notes (see Example 2).
Example 2 Excerpt from a Three-voice Fugue
When there are two voices on a staff, the stems of the notes in the higher voice go up and the stems of the notes in the lower voice go down. When theres only one voice on a staff, the basic stem rules apply. 2. Complete this assignment: a. In Example 2, use a highlighter (or pencil) to highlight the alto voice. b. In the first bar of Example 2, the alto voice is written on the _______ (treble/bass) clef staff. In the second bar, it is written on the ________ (treble/bass) clef staff.
The Exposition
The first section of a fugue is called the exposition (see Example 3). During the exposition, the main themes of the fugue are introduced.
Example 3 A Fugue Exposition
Fugue VI
in 3 voices
tr
tr
The Subject
A fugue features a main theme called the subject. The subject is first heard at the beginning of the fugue in a solo statement in one of the voices. By introducing the subject in this dramatic way, the composer ensures that we will recognize this important melody when it recurs throughout the fugue.
/10
C Minor
a. b. c. d.
How many voices does this fugue have? __________ Name the voice that introduces the subject in the first bar: ___________ The fugue is in C Minor. What key is the answer in? __________ The answer is tonal. We know this because if it were a real answer the first note of the answer would not be C. It would be ___. In the answer, the first note that conveys the dominant key is the _____ in bar _____ in the _______ voice. Does this fugue exposition have a countersubject? ______ Is there a link? ______ Does this fugue exposition have a redundant entry of the subject or answer? _____
e.
f. g. h. /4
3. Answer the following review questions: a. What vertical interval between chord notes is acceptable in most counterpoint but should be avoided in invertible counterpoint? _________________ b. In invertible counterpoint, to determine the minimum distance to move the lines we round up the distance between the lines to the nearest ________________.
c. (Check the correct answer.) A Baroque dance in a minor key typically modulates to: the relative major the dominant minor the tonic major d. (Check the correct answer.) A Baroque dance in C Minor will typically modulate to: C Major G Minor E-flat Major
Bonus Question: What is the general term used for a statement of the subject or answer of a /1 fugue? ___________________
Fugue X
In 2 Voices J. S. Bach BWV 855
E Minor
Countersubject (soprano)
In a two-voice fugue, the soprano voice is written on the top staff and the bass voice is written on the bottom staff. Since there is only one voice per staff, we use the basic stem rules. A Typical Question In a typical question on a counterpoint exam, the assignment is to complete a fugue exposition such as the one in Example 2a. The given material usually consists of: the subject the answer one line of a link a redundant entry of the subject or answer.
* This exposition is very short. Its over before we have a chance to confirm that the melody in the soprano in Bar 3 is a countersubject. We know that it is a countersubject because it recurs with other entries later in the fugue.
Chapter Nine: Writing Fugues - 265 Example 2a A Sample Question 1. Complete the exposition of this two-voice fugue, including an invertible countersubject. 2. Label the components of the exposition.
Key: ______
Example 2b shows a students completion of the exposition in Example 2a. In the completed version: the countersubject was composed in the dominant key the other line of the link was composed the countersubject was re-written in the tonic key above the redundant entry of the subject. all components of the fugue exposition were bracketed and labelled.
Example 2b Real Answer in C Major (soprano) Link
G. P. Telemann
_____
6 ____ 6
_____
# _____
In figured bass style, the accompaniment was usually played on a keyboard instrument such as a harpsichord. The accompanist played the written bass line and improvised an upper part, using the numbers and signs below the bass line, the figures, as a guide. An accompanist reading from the score in Example 1a would play something like the bottom two lines in Example 1b. The complete accompaniment, the bass line and the chords, was known as a realization of the figured bass.
Example 1b Solo part (for violin, oboe or flute) Partita in E Minor - Aria 3 G. P. Telemann
In figured bass style, each time a piece was played the bass line was the same but the improvised upper part of the accompaniment was different because the accompanist would play different voicings of the chords and sometimes add ornaments and bits of melody. Lost and Found After the eighteenth century, the art of improvising an upper part above a figured bass line was virtually lost. Then, during the twentieth century, musicians began to play from figured bass lines again, as part of the renewed interest in playing Baroque music as it was played during the Baroque era.
Today, many accompanists play Baroque accompaniments by reading from a figured bass score such as the one in Example 1a. They play the written bass line and improvise an upper part, just as players did during the Baroque era. Other accompanists prefer to play from a written-out realization such as the one in Example 1b. In this chapter we will learn to write a realization for a figured bass score. A Typical Question A typical figured bass question will be in the format shown in Example 1c. The assignment will be to complete the realization by writing chords on the blank staff. Presented with a question like Example 1c, the student will write something like the middle line of Example 1b.
Example 1c Sample Question: Complete the realization of this figured bass accompaniment.
6 6
6 ______ 6 _______
# _________
Personnel Figured bass style is used to accompany singers and instrumentalists. The solo part(s) may be for a single voice or instrument, a small chamber group, or a larger group. The figured bass accompaniment is typically played on two instruments, an instrument that can play the chords, such as a harpsichord, and a bass instrument, such as a cello. The harpsichordist plays the written bass line and improvises an upper part. The bass instrumentalist plays the bass line in unison with the harpsichord. Other instruments are also used. Instead of the harpsichord, an organ (for sacred works), lute, harp or guitar may be used. Instead of the cello, a viola da gamba* or bassoon may be used. If the group of instruments and/or singers is a large one, a number of these instruments may play the accompaniment.
* The viola da gamba is a fretted stringed instrument that is similar to a cello. It originated in the sixteenth century.