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Nonimitalive Two- Voice Writing

10.

Exercises 16 and 17 on p. 84 may be done at this time. Be sure to use,

and analyze, only the stylistically appropriate nonharmonic tones,
including suspensions with ornamented resolutions.

Contrapuntal Analysis Checklist 14

I.

Relation of Voices
Number of independent voices
Motivic relationship of voices
Function of bass line. Motivic? Imitative?
Rhythmic relation of voices
Directional relation of voices
Harmonic intervals formed between voices. Which occur on strong
beats?
Invertible counterpoint
Textural changes
Treatment of dissonant harmonic intervals
Imitation-pitch and time interval between entrances. Length of
imitation.
II. Line and form
Melodic intervals used. Which predominate?
Phrase and period structure
Cadence formulae
Overall form, including major cadence points
How are structural pitches ornamented or connecte'd?
Motivic structure
Sequence-length of unit, transposition interval and direction, number
of times unit is repeated.
Local and overall contour of line; placement of climax
Compound line
Rhythmic structure-motifs, motion approaching cadence
III. Harmony
Chord vocabulary and placement in phrase
Harmonic rhythm
Cadence types and placement
Nonharmonic tone usage
Modulations-where and by what means, and to which tonal areas?
IV. Special devices
Pedal point
Stretto
Inversion
Retrogression
Augmentation
Diminution
14.

Several of the items on this checklist have not yet been discussed and will be covered later.

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Nonimifafive Two- Voice Writing

Essentials of Two-Voice Counterpoint

1.

2.

3.

4.

Rhythmic relationships-I:I, 2:1, 4:1, and (in compound meters) 3:1 and
3:2 are to be used.
Motion relationships-available are parallel, similar, oblique, contrary. A
mix of all types is typicaL Parallels-imperfect consonances only; no paral. ,1 perfect consonances or dissonances at first. Avoid extended use of
parallel thirds or sixths.
Harmonic intervals-use mostly imperfect consonances. Perfect consonances occur mainly at beginnings and cadences, or on weak beats, using
strong scale degrees (1, 4, 5). Treat all dissonances correctly in the usual
nonharmonic tone idioms. Resolve all d and A intervals. The P4 is a
dissonance.
Harmony-must be clear, functional, with regular (patterned) harmonic
rhythm.

OTHER POINTS

Avoid voice-crossing for now.

Avoid consecutive dissonances, except for a weak passing tone followed
by a strong passing tone descending.
3. No parallel, contrary, or direct fifths or octaves. No unequal fifths.
4. Nonharmonic tones cannot be used to correct parallels.
5. Doubling: freely double strong scale degrees; generally avoid doubling
tendency tones (leading tone, chord sevenths, altered tones, chord
thirds); line takes precedence over doubling.
6. Never choose a note for harmonic reasons only.
7. Stay focused on line. Use typical melodic figurations, including cadence
figures; work for motivic unity, shape, pattern, continuity.
8. Always work from, and be aware of, a structural pitch framework (skeleton), both for shape of line and strength of counterpoint.
9. You are writing music, not just "theory exercises." Rhythmic flexibility,
coherence, and expression are very much to the point.
10. Check all work at a keyboard.
11. Analyze as you work:
intervals between voices on each beat
'motion relationships
rhythmic relationships
harmony
non-harmonic tones
1.
2.

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