Divisional Counterpoint

ASSIGNMENT:

Create or choose a subject that is short, moves primarily in steps, and reinforces a single chord. (Perhaps a fragment of one of the subjects in STEP 20 will do.) Your motive might even have some scheme of immediately repeated pitches. Then create its contour inversion. Using your earlier shorter skeletons, determine the Roman numeral that each skeletal pair represents, noting where the R , 3 , and 5 are for each chord. After that has been done, position the subject or its inversion in each chord, matching the 3rd of the subject with the 3rd of the chord. Usually the subject can be in one voice and then the other. Having done this, be sure to avoid static repetitions in the same voice at the same pitch level. Next add free material in the blank spaces. (Match the speed of the added voice in the examples.) The beginnings and endings of the subject can be linearly bent with the surrounding measures by changing a few notes here and there to facilitate smoothness as you move from chord to chord. (More on that is given below.)

This is our first experience with the type of intensive process used by Bach. If done properly, the result of this STEP is a mini-invention which may or may not sound to your liking. Ask yourself if at any point the piece seems needlessly monotonous. Perhaps the contour inversion should have been used in that spot. Always remember that this style carries with it the danger of monotony. Such devices as linear inversion, episodes, as well as chord and key changes help to avoid it. Even with a resulting monotony, the intent here is to practice positioning the motive on different chordal levels.

In the following examples notice that the composite rhythm is that of either constant 16th notes, or8th notes. In this STEP each skeletal pair is one measure duration. Augmentation inserts are possible. Also, notice the indicated intervals at strong metric positions. They should always be mostly 3rds and 6ths. At l, 2, and 3on the next page the beginning or end of the subject was "bent" so as to fit more properly.

(In your work avoid the more difficult arpeggiating kind of subject illustrated above.)

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STEP 22 MOTIVE POSITIONING IN THREE VOICES

ASSIGNMENT:

Since we have not worked with three voices for a while, it may be necessary for you to review those principles in earlier STEPS. Practically every move has some sort of parallel 3rd or 6th. Work with your best original three-voice skeleton, making adjustments to it if necessary. Choose a subject fragment that is narrow in range.(Avoid contour inversion in this STEP.) Remember that if a subject starts on the R , it will always do so. When you add the other voices, which are free, some bending of the original subject may be necessary. Even though the finished exercise might tend to sound repetitious and static, the primary concerns are the distribution of the subject to all three voices, and the aural clarity of each chord change. In order to do this, some Root Position chords may have to be changed to First Inversion. Also, notice the speed ratios of the example below. When working in three voices, it is natural to, most of the time, have one voice fast, and the other two slower. At l. two voices are in successive gymels. (Make sure you understand this before moving on.) At 2. there are two measures for each skeletal pair. At 3. the subject has been adjusted for the harmony.