CAP 10 - Imitation in three voices (sujeto y contrasujeto) Flashcards
Imitation at the octave and three voices
In two-voice counterpoint, imitation at the octave is natural and satisfactory. With three voices, it entails certain disadvantages.
A) The first is the melodic and harmonic monotony that is likely to result when the same material is stated three times in a row slarting on the same pitch class (even though in different octaves).
B) A further problem is range. When three different octaves are involved, the voices are widely spread out. While that spacing is practical for three solo wind or string instrurments of appropriate compass, it is generally awkward for keyboard instruments. And from a vocal standpoint it is likely to be totally unworkable, since it tends
either to take the top voice too high or the bottom voice too low.
When four voiccs are in volved
When four voices are in volved, the fourth announccment is normally at the 5th, so that the principle of alternating levels is even more in evidence then.
Invención y motivo, contramotivo y contrasujeto
Whereas in inventions the principal idea is called the “motive,” in fugues it is known as the “subject.” The abbrevíations “M.’’ and “S.”
A countermotive is indicated by “CM.,” a countersubject (which performs the same functíon in fugues) by “CS.”
REAL IMITATION
Whcn a melodic línc is imitated at the 5th, the imitating material is known as the “answer.”
The term “at the 5th” is applied not only to notes literally a 5th higher but to those of the same pitch classes in higher or lower octaves.
In Example 2 the notes of thc answer are all a perfect 4th lower than those of the opening statement; that is, they are imitated exactly at the 5th. The terms “real imitation” and “real answer’’ are used to describe this situation.
The bridging process
The bridging process is not always as easy to accomplish as the initial transition from tonic to dominant, especially if the key is minor.
In that case the tonic chord of the dominant key must have its third raised before it will sound like the (major) dominant ofthe original key and lead back to that key.
TONAL IMITATION
A) Tonal imitation is generally used if the dominant note (or occasionally the leading tone in a strong metric position and clearly implying dominant harmony) occurs near the beginning of the subject.
B) It is the alteration of notes in the answer in order to preserve certain intervallic relationships within the line.
C) Tonal imitation is used if the subject modulates (to the dominant).
NOTE:
This is a brief example of the process of tonal imitation-the answering of one or more notes at the 4th instead of at the 5th. Through its use, the outer boundaries of a mode were preserved; and in the process, the scale tended to divide itself into two
segments: ( 1) the notes lying within the bottom 5th; (2) those within the top 4th.
How near the beginning of the subject must a dominant note be to qualify as requiring tonal imitation?
A very general answer to that question might be: within the first three or four beats.
But sometimes a dominant note appearing even later than that is answered tonally, while in other cases one appcaring early in the subject is given a real answer.
However, tonal imitation seems to be most
clearly required when the dominant note plainly suggests V (as opposed to 1) and appears in a strong position metrically.
Leading tone and real answer
Definite suggestions of dominant harmony such as those in the examples just seen usually result from the fact that the leading tone is placed in a strong metric position.
When it occurs in a weak metric position, bach normally gives it a real answer.
Tonal Imitation and leading tone
In some subjects the leading tone is heard as suggesting the dominant harmony clearly, rather than as a nonharmonic tone against the tonic harmony, In such cases it is generally answered tonally.
Exception to general principles of tonal imitation
One imponant exception lo these general principles of tonal imitation must be mentioned:
A tonal answer is not generally used if the change it involves would do violence to some highly characteristic element of the motive or to a pattern, sequential or otherwise.
