Fugas (Chapt 15-17) A 4 voces

Question 1

Four Voice Counterpoint

Answer 1

1-The chief problem in four-voice counterpoint is that of maintaining a good balance
between harmonic definition and linear integrity.

2- The presence of four voices allows for the simultaneous sounding of all four notes of a seventh chord

3- Rhythmic activity may be more or less evenly distributed among the voices, or certain ones may play a more active role than others. Two voices may be paired rhythmically against the two others moving in a different design; and so on.

4- The music is most often constructed in such a way that the listener’s attention is focused first on one line, with its supporting counterpoints, then on another such combination.

5- In most four-voice contrapuntal works, all four voices are not involved continuously.

Note: Most of the material on three-part writing can be extended to apply to the four-voice texture.

Question 2

Four-voice fugue expositions harmonic pattern:

Answer 2

In most four-voice fugue expositions, the pattern of key relationships is tonic, dominant. tonic, dominant.

However. another pattern is possible and is
seen occasionally: tonic, dominant, dominat, tonic.

Question 3

Four-voice fugues: countersubject

Answer 3

1-Even though, not all fugues make use of a countersubject, the majority of four-voice fugues make use of one or more countersubjects.

2-Second countersubjects are infrequent, and the use of a third countersubject in a four-voice fugue is extremely rare.

3- One of the criteria for determining whether it is a countersubject, namely its reappearance with the subject in the exposition, is missing.

4-Second and third countersubjects are less usual than free material. “Free” is therefore listed first when one or the other could be involved.