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Interlude 3 Tonal Counterpoint Exs

This document provides instructions for three counterpoint exercises: 1. Compose bass lines and one-to-one counterpoints for given harmonic progressions. 2. Invent harmonic progressions and compose bass lines and counterpoints above them. 3. Embellish existing counterpoints with passing tones, leaps, and neighboring motions and compose new progressions with counterpoints.

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98 views5 pages

Interlude 3 Tonal Counterpoint Exs

This document provides instructions for three counterpoint exercises: 1. Compose bass lines and one-to-one counterpoints for given harmonic progressions. 2. Invent harmonic progressions and compose bass lines and counterpoints above them. 3. Embellish existing counterpoints with passing tones, leaps, and neighboring motions and compose new progressions with counterpoints.

Uploaded by

JanFrancoGlanc
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Tonal Counterpoint Exercises

Exercise C-1

A. Review the paragraphs above, and compose bass lines to the following progressions.
Follow the suggested procedures and explain your decisions.

Example:

Given:

Mandatory root position pitches:

Mandatory first inversion pitches:

1. This example starts on beat 3. Begin and end the example with a half note.

2. This example starts on beat 3. Begin and end the example with a half note.
Exercise C-2
1. Compose a good one-to-one counterpoint to the following bass line. Indicate the
harmonic intervals formed by the two voices. You may either write a PAC or a root-
position IAC as the final cadence.

2. Compose a good bass line using the root-position progression below, inverting
harmonies as necessary. Then compose a good one-to-one counterpoint above the bass
line. Use a HC for the final cadence. The example starts on beat 3. Begin and end the
example with a half note.

3. Compose a good bass line using the two-phrase root-position progression below,
inverting harmonies as necessary. Then compose a good one-to-one counterpoint above
the bass line. Use a HC to end the first phrase and a PAC to end the second phrase. The
final chord of each phrase should be a whole note. Note that you do not have to preserve
good voice-leading over the break between the two phrases. (For example, the second
phrase can begin with pitches that are disjunct in relation to the previous phrase.)
4. Invent a harmonic progression in half notes (except for the final pitch, which should be
a whole note) following the instructions below. Then compose a good bass line and add a
good one-to-one counterpoint above that bass line.

a. E minor, one five-measure phrase in 4/4 meter

b. A major, two four-measure phrases with cadences appropriate for a period in 4/4 meter
Exercise C-3

1. Embellish the one-to-one counterpoint given below. Indicate the harmonic intervals
formed by the two voices.

2. Compose a good one-to-one counterpoint for the progression given below. Then
embellish with passing tones, consonant leaps, and/or 5-6 (6-5) motions. Indicate the
harmonic intervals formed by the two voices. Turn in both versions.

3. Make up a progression with the following parameters: a two-phrase period in C minor


and a 4/4 meter, with the two phrases ending with a root-position IAC and a PAC
respectively. Then compose a good one-to-one counterpoint and an embellished version.
Indicate the harmonic intervals formed by the two voices. Turn in both versions.

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