COUNTERPOINT WORKBOOK SECOND EDITION Kent Wheeler Kennan PRENTICE-HALL, INC., Englewood Cliffs, New Jersey©1972, 1959 by PRENTICE-HALL, INC. Englewood Clifis, New Jersey All rights reserved. No part of this book may be reproduced in auty form or by any means without permission in writing from the publisher, Printed in the United States of America ISBN; 0-13-184309.5 Library of Congress Catalog Card.: 73-168625 (Current printing (last digit) 18 17 16 15 PRENTICE-HALL INTERNATIONAL, INC., London PRENTICE-HALL OF AUSTRALIA, PTY, LTD., Sydney PRENTICE-HALL OF CANADA, LTD., Toronto PRENTICE-HALL OF INDIA PRIVATE LIMITED, New Delhi PRENTICE-HALL OF JAPAN, INC., TokyoCONTENTS Chapter in text* for which mater ial may serve as assigament page Melodic Line 2 Analysis of basic shapes (excerpts by Bach, Corelli, 1 Couperin, Handel, Haydn, Pachelbel) Exercises in error detection 5 Two-Voice Counterpoint 3 Exercises in error detection (1:1) 6 4 1:1, major, diatonic 7 1:1, minor, diatonic in 4,6 Exercises in error detection (2:1, 3:1, 4:1) 16 4 2:1, major and minor, diatonic 7 5 1:1 and 2:1, with chromatic alterations 20 2:1 (chromaticism to be included as desired from this 21 point on) 6 3:1 23 4:1 29 Comprehensive exercise (1:1, 2:1, 3:1, 4:1) 35 Conversion of 1:1 to other rhythms, with motion distributed 37 between the voices Fourth species; creation from 1:1; suspensions 39 Fourth species; analysis of suspensions 40 (Bach: Fuga sopra: Magnificat) Fourth species; harmonic analysis (Bach: Partita 43 No. 6, Corrente) 7 Dance-suite movement; analysis (Bach: French 44 Suite No. 4, Menuet) 10 ‘Two-part inventions: structural analysis (Bach: 45, ‘Two-Part Invention No. 11) ‘Two-part inventions; writing of counterpoints 47 to motives (or of entire inventions) ‘Two-part inventions; writing of sequential episodes 49 (motives by Bach, Handel, Pachelbel) Three-Voice Counterpoint W 1:1; conversion to other rhythms with motion distributed 51 among the voices Suspensions; creation from 1:1 Harmonie analysis (Corelli: Sonat vriting 53 da Chiesa a Tre’ 54 *Kent Kennan, Counterpoint, 2nd ed. (Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1972).Chapter in text for which mater- ial may serve as assignment 13 ul 11,13 14 15,16 18 Imitation in three voices; writing of answers, real and tonal (to motives and subjects by Bach, Buxtehude, Fischer, Handel, Mozart, Pachelbel, Scarlatti, Telemann) Supplying of a missing voice (Bach: Organ Sonata No. 3, Andante movement) Structural analysis (Purcell: Verse) ‘Three-part inventions; structural analysis (Bach: Three-Part Invention No. 14) Three-purt inventions; writing of initial announcements (and of brief episodes if desired) Three- and Four-Voice Counterpoint ‘Three-voice fugues; structural analysis (Bach: Well-Tempered Clavier, Book I, Fugue 11) Four-voice fugues; structural analysis (Bach: Well-Tempered Clavier, Book II, Fugue 7) Fugue; writing of strettos (subjects by Bach, Gedalge) Chorale preludes; structural analysis (Bach: Christ, unser Herr, zum Jordan kam) Chorale preludes; structural analysis (Bach: Wer nur den lieben Gott lisst walten, portions of four settings) Chorale preludes; writing (Bach: five chorale harmonizations, for possible use) Chorale preludes: writing (eight chorale melodies for possible use) 61 63 69Re aE PREFACE, ‘This Workbook is designed to be used in connection with the author's text, Counterpoint (second edition, 1972), based on eighteenth-century practice. In the Table of Contents, the chapter in the text for which each group of exercises may serve as assignments is indicated. The author did not intend that any one class should do all the exercises; in providing the number of them given here, he hoped to meet the needs of different teaching situations and to allow for some variation in the material assigned, from year to year. Additional assignments that do not involve material in the Workbook are included in the Suggested Assignments at the ends of chapters in the text. In this revised edition, a number of exercises have been added, along with a good deal of music for analysis. The latter includes a short dance-suite movement, a two-part invention, a three-part invention, a three-voice fugue, a fourvoice fugue, a chorale prelude, and portions of other chorale preludes. It is hoped that the Workbook will prove a helpfull supplement both for those students who need to acquire an actual working command of “Baroque style” counterpoint as part of their technical background (mainly theory-composition students) and for those whose study of the subject is intended chiefly to bring about a deeper understanding of the great music that makes up the eighteenth-century contrapuntal tradition. Kent Kennan‘THE SINGLE LINE; ANALY S OF BASIC SHAPES On the staff below each of the following melodies write, in whole notes, the pitches that you feel represent the basic shape of the line. Other pitches that have lesser structural significance may be indi- cated in black notes without stems, if the instructor so specifies. (The latter tones are sometimes called “basic associates.”) Do not indicate purely decorative pitches, such as nonharmonic tones, however, The first melody below has been analyzed as an example. If a melody implies two lines, these can be shown by means of stems — up for the higher line, down for the lower Sonata in B Minor, Op. 1, No. 6, second movement o h - fy Pe] SSS EE oreo —— SS SES BachFugue in C Minor (Organ) EER La Bandoline ® Légérement sans vitesse Couperin ees i (Bas) = 2» ry String Quartet in A, Op. 20, No. 6, fourth movement. ft GF “Wiolia D Allegro pe —— = oe = -— eo — ¥Magnificat No. 15 on D (Organ)* Pachelbel Bach Organum, Ser. 4, No. 14 (Cologne: Fr. Kistner & W. F. Siege! & Co.) eters Edition.LINE; EXERCISES IN ERROR DETECTION Tell, or write below each example, the error or weakness involved, In the eis below the stait mn reerring Lo spectiic points. Ail the examples except numbers 3 and in © major. ® ® A minor @® A minor se of Example 10 nee are = | | | ! SATTWO VOICES, 1 : 1; EXERCISES IN ERROR DETECTION Tell, or write below each exam le, the error or weakness involved. In the case of Example 10, use numbers below it to refer to spe the cific points. Examples 1-9 are in C major, Example 10 in A-flat major. ®‘TWO VOICES, 1 : 1, MAJOR; NO CHROMATIC ALTERATIONSA A A A LS a i WY Te ‘TWO VOICES, 1: 1, MINOR; NO CHROMATIC ALTERATIONS (Raised sixth and seventh scale steps in minor do not count as alterations.)—— OR 4 4 | xi +I if u ie W 4 ite i" is |TWO VOICES, 2: 1,3: 1, AND 4: 1; EXERCISES IN ERROR DETECTION Tell, or write below each example, the errors or weaknesses involved. Use the numbers to refer to specific points, 16TS. + +--+ oot An ee ccc ne ee ® @® TWO VOICES, 2 1, MAJOR AND MINOR; NO CHROMATIC ALTERATIONS‘TWO VOICES; 1: 1 AND 2: 1 WITH CHROMATIC ALTERATIONS ‘here chromatic inflections occur and at points marked *, imply an altered harmony — in most cases a secondary dominant (dominant embellishing chord), @ ia (Bat major) ae v "wie ve 1 @ia (minor) @® vitor 20Where eighth notes appear in the C. F., use either a quarter note or two eighths in the added voice. At fermatas within a chorale melody, the motion may either continue or pause, most often the former, Chorale Melody in’ feste Burg ( portion ) TWO VOICES, 2 : 1 (INCLUDING CHROMATIC ALTERATIONS AS DESIRED)Two Voices; 2:1 (continued) all> \ ;TWO VOICE: (Chromatic alterations may be included as desired, from this point on.) At places where the C. F. has the triplet rhythm, the added voice may either take over the “I” role (in the 3 : 1 relationship), or it may continue to move in triplets.(C minor) rs e " solution thers,28TWO VOICES, 4: 1 (Add a voice in sixteenth notes.) @ i (Leer P) cs)o Bach “This exercise parallels Variation 11 of the Passacaplia, which consists af only two voices, the bottom one mor ly ia sixteenth notes, 31Continue the lower voice, using any values desired, provided an overall rhythm of sixteenth notes is maintained, 16} vinTWO VOICES, COMPREHENSIVE EXERCISE (1 12:13:14,421) Ig +‘TWO VOICES, CONVERSION OF 1: 1 TO OTHER RHYTHMS, eighth-note rhythm, In 2, convert the 1 : | counterpoint given in | to a version that maintain: with the motion distributed between the voices as desired, Both voices may occasionally move in eighth notes at the same time, In 3, convert | to a version using a triplet rhythm, in 4 to one using a sixteenth-note rhythm — with the motion distributed between the voices in each case. 1 37‘TWO VOICES, CONVERSION OF 1 : 1 TO OTHER RHYTHMS. In J, write a 1 : 1 counterpoint to the given melody. In 2, convert | to a version that maintains a quarter-note rhythm, with the motion distributed between the voices as desired. Both voices may occasionally move in quarter notes at the same time. In 3, convert I to a version using a quarter-note riplet rhythm, in 4, to one using an eighth rhythm, with the motion distributed between the voices in each case. 38‘TWO VOICES, FOURTH SPECIES; SUSPENSIONS In 2, convert the 1: I counterpoint given in 1 to fourth species by delaying the upper voice by half a beat. In 3, delay the lower voice instead, Where suspensions result, indicate the suspended note with an S, the note of resolution with an R; also add figures ( below the staves) to describe the intervals involved in each suspension. If a harmony tone results, indicate that with an H. If the result of shifting a voice is unsatisfactory, mark the beat in question with a U. (This exercise might well be done in class as a demonstration of the origin of fourth species.)Two Voices, Fourth Species; Suspensions (continued) B. Where suspensions occur in the following passage, indicate the suspended note with an S, the note of resolution with an R; also add figures below the music to describe the intervals involved. Be prepared to comment on any delayed or ornamented resolutions, Fuga sopra: Magnificat (Organ) eS Fs - C. By means of a tie or a repeated note, create a suspension in each of the following, in the voice marked X. Write these on the staff below the 1 : 1 versions (1 has already been done as an example). Below each suspension add numbers describing it (4-3, etc.) + 40te suspensions in the following passage, Have some in the ‘ach suspended rote with an S and add numbers to des- D. By means of ties or repeated notes. en upper voice, some in the lower. Indi cribe each suspension. E. By means of ties, convert the following passage to fourth-species counterpoint. Where a suspension results, indicate the suspended note with an § and add numbers to describe the suspension. Where a harmony note results, indicate that with an H, 41Rg tiie ‘TWO-VOICE COMPOSITION INVOLVING FOURTH SPECIES; HARMONIC ANALYSIS In analyzing the following excerpt, include chord symbols; circle each nonharmonic tone and label it with a letter to indicate the type (S = suspension, A = anticipation, etc.), or simply be prepared to supply this information verbally if the instructor so specifies. Also be prepared to comment on the use of sequences ( The notation employed here involves ties, rather than syncopated notes of longer value, in order that the vertical relationship on each beat can be seen clearly and so that when a nonharmonic rela- 1 tionship occurs at such points there will be a note that can be circled. Partita No. 6, CorrenteSUITE MOVEMENT (TWO VOICES); ANALYSIS ‘The instructor should specify which of the following directions apply: 1) add chord symbols; 2) circle nonharmonic tones; 3) label nonharmonic tones; 4) place numbers between the staves to describe the vertical intervals (with numbers for unessential intervals in parentheses); 5) bracket — and label if necessary — any recurring motivic patterns. French Suite No. 4 BachTWO-PART INVENTIONS; STRUCTURAL ANALYSIS Analyze the following invention, using the same approach as in Example 13, Chapter 10 of the text, Label and bracket each appearance of the motive ~ and of the countermotive if one is involved. Also indicate episodes, along with the source of their material, and cadences, including the key of each, ‘Two-Part Invention No. 11Two-Part Invention No. 11 (continued)TWO-PART INVENTIONS; WRITING OF COUNTERPOINTS TO MOTIVES, In each case, continue the top voice to form a counterpoint to the invention motive restated in the bottom voice. If desired, any of the motives given here may be used as the basis for an entire invention or a specified portion of one (for example, the first four announcements plus one episode) @ Allegretto Allegro vivo , Allegro arie BE (See : f — © ttegretto eps SSS 48‘TWO-PART INVENTIONS: WRITING OF SEQUENTIAL EPISODES. Extend each of the following brief passages by means of sequential repetition, up to the point indi- cated. (G minor) ® Pachelbel @ Handel (KW.THREE VOICES, I : 1 (TOP VOICE GIVEN): CONVERSION TO OTHER RHYTHMS In 1 add two voices, 1: 1 (occasional eighth-notes may be used.) In 2, convert this to a version maintaining an eighth-note rhythm, with the motion distributed among all three voices. (Two voices may sometimes move in eighth-note rhythm at onve, rarely all three.) In 3, convert to a version main taining a triplet rhythm, with the motion distributed.THREE VOICES, | : 1 (BOTTOM VOICE GIVEN); CONVERSION T0 OTHER RHYTIMS, In 1, the bottom voice is given; add a middle and a top voice, 1 : 1, both to be written on the upper staff. In 2, convert this to a version maintaining an eighth-note rhythm, with the motion distributed among all three voices as desired, (Two voices may sometimes move in eighth-note rhythm at once, rarely all three.) In 3, convert the 1 : 1 version to one maintaining a triplet rhythm, in 4, to one main- iaining a sixteenth-note rhythm, with the motion distributed in each case,‘THREE VOICES; SUSPENSIONS A. Create a suspension in one of the two lower voices in each of the following. Add figures below the lower pair of staves to describe each suspension. (This assignment — as welll as B ~ may profitably be done in class.) ®@ ® 6 ® C. Write a passage in three voices containing several examples of suspension,THREE-VOICE COMPOSITION; HARMONIC ANALYSIS ‘The instructor should specify which of the following directions apply: 1) add chord symbols; 2) sircle nonharmonic tones; indicate each suspended note with an S, each note of resolution with an Rs 3) indicate only suspensions, in the way just mentioned, and add figures below the continuo staff to describe the intervals in each. (The figured-bass symbols included in the original have been omitted here.) Be prepared to comment on any delayed or ornamented resolutions. Sonata da Chiesa a Tre’ Vietin 1 Violin 1 2IMITATION IN THREE V6 WRITING OF ANSWERS, REAL AND TONAL A. Tell whether each of the following motives or subjects would call for a real or a tonal answer and why B. Write an answer below each excerpt. (That placement is only for purposes of comparison; the answer will of course occur — in another voice — following the initial statement, and the two will not sound together.) The instructor may wish to defer the actual writing of answers until there has been a chance to analyze a number of works that involve the principles of tonal imitation, The ability to write tonal answers where appropriate will be needed in connection with the work on three-part inventions (pages 67,68 ). ft Organ Sonata No. 5, third movement ss Sonata in G Minor (String Quartet) Herr Jesu Christ, dich zu uns wend* a Allegro ma non troppo Scarlatti @ - are Pe ae Eber eee es “Chorale preludes for orean, 55Imitation in Three Voices; Writing of Answers (continued) Lobt Gott, ihr Christen allzugleich * eel ® Three-Part Invention No. 9 ee Ete afk i! it Bete frei ae = =| é —— Partita No. 5 f Jesus Christus, unser Heiland * Beh @ nee eee Puta 7 aes e minor) = =C Major (Organ) aT Capriccio in E Major (Keyboard), B. W. V. 993 fon = ee eee riage Ariadne Musica, Fugue in D Minor (Organ) ® JK. F, Fischer @ Fugue in C Minor (Harpsichord) HandelTHREE VOICES; SUPPLYING OF A MISSING VOICE Add a middle voice. Have it take the sixteenth-note rhythm when neither of the other voices does. In measures 11 and 12, consider the possibility of imitating the preceding two measures of the top voice. Organ Sonata No. 3 AndanteThree Voices; Supplying of a Missing Voice (continued) 60THREE-VOICE COM?USITION; STRUCTURAL ANALYSIS Analyze the structure of the following composition. Bracket and label any recurring motives. (Notice that in some cases a voice moves from one staff to the other.) On a separate sheet comment on any significant points not covered in the analysis here and on the overall form. Purcell t 1 ' 6 tThree-Voice Composition; Structural Analysis (continued) bens Ps = Ee we _ FeetLabel and bracket each appearance of indicate episodes, along with the source of their material, and cad == ; : <— —SS SS eee ea THREE-PART INVENTIONS; STRUCTURAL ANALYSIS Analyze the following invention, using the same approach an Fe ample 4, Chapter 14 of the text » motive — and of the countermotive if one is involved. Also ncluding the key of cach, ‘Three-Part Invention No. 14 Farceas = ——= i‘Three-Part Invention No. 14 (continued) a, ——————————————— (Se =e Ear feetfy sume nomena SAEs AR A AS CR PO er a ge mmf THREE-PART INVENTIONS; WRITING OF INITIAL ANNOUNCEMENTS Fill in the missing voices in the following to form the exposition of a three-voice invention in each case. Pitches in small notes are merely suggested; others may be substituted, ® - Largheno ! = = Pept a‘Three-Voice Inventions; Writing of Initial Announcements (continued) ® Andante Possible episode beginning with sequential extension r—| Se Bridge aa Omar |, Tonal answerBis neem sen AB: THREE-VOICE FUGUES;STRUCTURAL ANALYSIS alyze the following fugue, using the same approach as in Example 10, Chapter 16 of the Label and bracket each appearance of the subject (or answer) and of the countersubject if on volved. Also indicate episodes, along with the source of their material, and eadenc of cach, On a separate sheet, comment on any unusual or significant features, text, e is in s. including Well-Tempered Clavier, Book 1, Fugue 11 * ft Po — os 6Well- Tempered Clavier, Book I, Fugue 11 (continued) ff) PRs aassentcFOUR-VOICE FUGUES; STRUCTURAL ANALYSIS Analyze the following fugue, using the same approach as in Example 10, Chapter 16 of the text, Label and bracket each appearance of the subject (or answer) and of runtersubject if one is, involved. Also indicate episodes, along with the source of their material, and cadences, including the key of each, Well-Tempered Clavier, Book II, Fugue 7Well-Tempered Clavier, Book II, Fugue 7 (continued) gx Lid eee Lage, See “Yd ed HN Ay ls oy] Dis = he > a SSS kai eS dl I ins pay : ty tiEF: q 4cFUGUE; WRITING OF STRETTOS Use each subject as the basis for a stretto in two voices. Each subject is given twice; devise a different stretto the second time — one that differs in either harmonic interval or time interval or both. There is not space here for the second voice to complete the canonic imitation; it will simply stop with the last note of the first voice. Avoid having both voices rest or take long values at the same time; that is, keep the motion going "From Treatise on the Fugue, by Andeé Godalge, Translated and Féited by Ferdinand Davis, Copyright 1965 by the University of OishomCHORALE PRELUDES; STRUCTURAL ANALYSIS Analyze the following chorale prelude, labeling the various elements on the mu: commen itself and adding S on a separate sheet concerning derivations, relationships between elements, etc. Christ, unser Herr, zum Jordan kam (first two phrases) ~ ~ + = SSS SS SSSsamen¥ CHORALE PRELUDES; STRUCTURAL ANALYSIS On a separate sheet, describe briefly the structure o* cach of the following four excerpts from chorale preludes based on the melody whose first phrase is given at the start. Indicate to what extent cach con forms with one of the types discussed in the text. Mention any derivation of accompanying material from the C. F.Include harmonic analysis (beneath the music) if that is requested by the instructor. Wer nur den lieben Gott lsst walten (first phrase)~ 2 a4, ie. fer t+ face == —— . ie ta = =n atCHORALE PRELUDES; WRITING The instructor should specify which of the following assignments is to be done: 1, Write a chorale prelude of the “embellished harmonization” type, for organ, based on one of the chorale harmonizations that follow. This will involve adding passing tones, neighbor tones, sus- pensions, etc., in the various voices, in such a way that a steady rhythmic flow results — normally in eighth-note rhythm, with occasional sixteenths if desired, 2. Write a chorale prelude of the “‘motivic accompaniment” type. If possible, derive the recurring motivic accompaniment figure from the first phrase of the C. F. The number of voices is options! unless specified by the instructor, 3. Write a chorale prelude of any of the other types discussed in the text. Nimm von uns, Herr, du treuer Gott ee a wie cy + —. e ¢Chorale Preludes; Writing (continued) Wach’ auf, mein Herz Liebster Jesu, wir sind hier Based on a ® Bach harmonization = a bee fir ad = I 7)FN Based on Bach harmonization® a * Sg F id I a = f i : I Z- a a Das walt’ Gott Vater und Gott Sohn m tthe = ad | ? ie =e ~ I Jesu, deine Liebeswunden pa pn ttCHORALE PRELUDES; WRITING Write a chorale prelude (or a chorale fantasia) based on one of the chorale melodies on this page or the next, or on a chorale melody from another source. Vater unser im Himmelreich a @ ‘ Vom Himmel hoch, da komm’ ich her \ fl O Haupt voll Blut und WundenChrist lag in Todesbanden desu, meine FreudeChorale Preludes; Writing (continued) Hast du denn, Jesu, dein Angesicht Ach wie nichtig, ach wie fliichtig 90