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Exercises 30.9 Practice Exercises

Species Counterpoint: Day One

First and Second Species Exercises

1.

For each exercise below, write first species (note-against-note) counterpoint. Write the intervallic distance from the cantus firmus (“c.f.”) to the counterpoint in the blanks above the staff. Remember to begin and end with an octave or unison, to proceed to the last unison by step in both voices, and use only consonances (1, 3, 5, 6, 8, 10).

2.

For the exercises below, write second species counterpoint—two half notes in each measure except the last. Each downbeat must be a consonance. The only dissonance allowed is the passing tone. Write the intervallic distance from the cantus firmus (“c.f.”) to the counterpoint in the blanks above the staff. Circle all dissonant numbers (2, 4, and 7) and label passing tones with “pt.”

Species Counterpoint: Day Two

3.

For each exercise below, write third species counterpoint (quarter notes). Circle all dissonant interval numbers and label passing tones and cambiata figures.

4.

For each exercise below, write fourth species counterpoint (suspensions and syncopations). Circle all dissonant interval numbers and label suspensions with “sus” and syncopations with “sync.”

Invention Expositions

5.

Complete these invention expositions by following the I–I–V–V–I harmonic pattern and transposing and modifying the theme accordingly.

Fugue Analysis

6.

For this fugue from the second Kyrie eleison of Bach's Mass in B Minor (BWV 232), specify formal sections (expositions and episodes), motives (subject, response, countersubjects, and fragments thereof), and key areas for expositions only in the table below. This fugue contains more “counterpoint” (material not derived for subjects or countersubjects) than the C minor fugue in the body of the text.

Figure 30.9.1. J.S. Bach, Mass in B Minor, BWV 232, Kyrie eleison II
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 1 2 3 4
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 5 6 7 8
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 9 10 11 12
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 13 14 15 16
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 17 18 19 20
Table 30.9.2. Mass in B Minor: Fugue Analysis Table
Answer
FORM Exposition 1
SOPRANO
ALTO
TENOR Subject
BASS Subject Subject Sub. Countersubject
KEY F♯m C♯m
Meas. 1 2 3 4
l
FORM (Bridge)
SOPRANO
ALTO
TENOR Subject Bridge Mot. A Bridge Mot. A Bridge Mot. A
BASS Countersubject Bridge Mot. B Bridge Mot. B Bridge Mot. B
KEY
Meas. 5 6 7 8
l
FORM Exposition 1 (continues until 4th voice has subject)
SOPRANO Subject
ALTO Subject Subject Sub. Countersubject
TENOR Countersubject Countersubject C.S. Ctrpt
BASS Ctrpt Ctrpt Ctrpt Ctrpt
KEY F♯m C♯m
Meas. 9 10 11 12
l
FORM Episode 1
SOPRANO Subject Bridge Mot. A Bridge Mot. A
ALTO Countersubject Bridge Mot. B Mot. B Ctrpt Ctrpt
TENOR Ctrpt Ctrpt Ctrpt Ctrpt
BASS Ctrpt
KEY
Meas. 13 14 15 16
l
FORM Exposition 2
SOPRANO Cadential Ctrpt Ctrpt Ctrpt
ALTO Cadential Subject Subject Subject
TENOR Cadential Ctrpt Ctrpt Ctrpt
BASS
KEY F♯m
Meas. 17 18 19 20
Table 30.9.3. Mass in B Minor: Fugue Analysis Table

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Click here to download the Unit 10 Practice Test.