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Topic: Countersubject

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Fugue

Counterpoint

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	Well-Tempered Clavier - Book 2 - No. 18 - G sharp minor
		The countersubject works primarily on the level of the two beats: its basic unit is the dotted quarter note representing the three sub beats as one large beat.
		The countersubject is also chromatic: it uses notes outside the scale of G-sharp-minor, accidentals in between the standard notes.
		In a non-related observation, notice that the first subject is a sequence, built from the simple repetition of a motive by moving it upward one step.
	www.earsense.org /Earsense/WTC/Book2/18/words.html (728 words)

	Well-Tempered Clavier - Book 2 - No. 4 - C sharp minor (Site not responding. Last check: 2007-11-05)
		The other interpretations is that it is a single fugue with a very prominent countersubject.
		The countersubject enjoys what appears to be a fully independent exposition without the first subject (see the diagram).
		In addition to inversion, augmentation and diminution, a musical motive such as a subject or countersubject can be presented in retrograde, also known as crab motion or cancrizans.
	www.users.interport.net /k/a/kaic.dnai/Earsense/WTC/Book2/04/words.html (335 words)

	Op 87 - No. 6 - B minor
		Unimaginable as it seems, he adds a second countersubject that is quite steadfast throughout the fugue.
		But since the countersubject is in a different voice than the subject, the two pieces of the larger hybrid subject are usually clearly separated by a jump or a break in non-contiguous "pitch" space.
		While the combination of both subject and its continuation in the countersubject feels like a single melody, it is also a conversation between two voices, a beautiful example of polyphonic call and response.
	www.earsense.net /Earsense/WTC/Shostakovich/06/words.html (951 words)

	countersubject.html (Site not responding. Last check: 2007-11-05)
		Often countersubject is invertible: it can be stated either above or below subject.
		Countersubject is invertible: 3rds, 6ths and TT's (intervals are marked above the staff)
		Countersubject material contrasts Subject: sixteenth's, quarter's, and rests in CS; mostly quarters in Subject.
	plaza.ufl.edu /tnelly/countersubject.html (133 words)

	countersubject (Site not responding. Last check: 2007-11-05)
		Quite often, the countersubjects are revealed in the exposition as orderly as the subject entries.
		When multiple countersubjects participate, the counterpoint becomes thrillingly dense, and even more miraculous when all voices are clear, independent and mutually complimentary.
		Additional countersubjects may not appear until later in the fugue, creating sections with new development and new context for the original subject.
	www.earsense.net /Earsense/WTC/Vocabulary/countersubject.html (349 words)

	Fugue: Anatomy of
		Countersubjects serve as counterpoint to subjects (or answers) sounding simultaneously in a different voice.
		To qualify as an exposition, the subject (or answer) must appear in all voices and answers must be in the proper relationship (tonal or real) to subjects.
		Motive can mean subject, answer, countersubject, or any other substantive melodic/rhythmic entity in imitation.
	jan.ucc.nau.edu /~tas3/fugueanatomy.html (1581 words)

	Analysis of Beethoven's Grosse Fuga, by Matt Wuolle
		It is prefaced by a pianissimo rendition of the subject and brief silence; it is rhythmically, dynamically, and gesturally differentiated from previous material, i.e., it is new material.
		First, a transposed version of the countersubject itself tramples on our object, by throwing a 'C' right in next to the 'D.' Second, the subject simultaneously moves in position to 'Bb,' creating a momentary cluster of 'Bb' 'C' 'D.' This is a situation of acoustical ambiguity which threatens our ability to hear the line clearly.
		The overlapping of one countersubject beginning and another ending is like the overlap that occurs when one runner hands the baton to the next runner.
	www.mattsound.com /grosse.html (1930 words)

	Op 87 - No.2 - A-minor - fugue (Site not responding. Last check: 2007-11-05)
		The prominence and even antagonism of this primary countersubject includes one to call this a novel kind of double fugue.
		It is a trait of Shostakovich's fugues that the countersubjects shift around enjoying multiple contrapuntal relationships to the subject and other counter material.
		A more timid second countersubject joins the fray, based on the four note motive from the head of the subject, a motive which also informs much of the episodic material.
	www.users.interport.net /k/a/kaic.dnai/Earsense/WTC/Shostakovich/02/words.html (488 words)

	I
		This countersubject, after being modified, accompanies the last announcement of the subject at measure 48 to measure 50 to close the exposition.
		It is stated by alto (mm.55-60) and accompanied by the countersubject of the bass line (mm.58-59).
		As usual, its countersubject appears in soprano immediately as the subject is presented; however, it does not stay in soprano for too long.
	www.public.asu.edu /~jwang2/portfolio/myworks/paper10-bach.htm (2716 words)

	Fugue 16 Commentary (Site not responding. Last check: 2007-11-05)
		5, when the order of the countersubject and subject is texturally inverted (from CS on bottom and TA on top in m.
		The first statement of a middle entry (subject material in a key other than tonic or dominant) is accompanied by the countersubject.
		When subjects (or middle entries) enter in stretto, a complete countersubject is unlikely due to the added contrapuntal restraints.
	www.appstate.edu /~fankhauserg/fug16com.html (543 words)

	MUSC 200 Tech II - Fugue
		Subject (in the 3rd voice, exactly as it was at first, in the tonic, though perhaps an octave lower, depending on the layout of parts/instruments you have chosen); against it the 2nd voice has the counter-subject in the tonic, and the 1st voice has either a 2nd regular counter-subject or a free part.
		Sequences are the standard method of prolongation but the tonality must remain firmly under control, usually by using sequences which go up 5ths and down 4ths, in which case the harmony is very frequently the same and the figuration is the source of interest.
		Because the countersubject will be stated first against the answer, not the subject, it will have to be changed slightly when it appears eventually against the subject if the answer was tonal or modulating.
	www.lancs.ac.uk /staff/venn/fugue/fuguetext.html (1217 words)

	Invention Project (Site not responding. Last check: 2007-11-05)
		Write a two-part invention, on your own subject and countersubject, in the style of Johann Sebastian Bach (the scores for all of Bach’s two-part inventions are on reserve in the music library – see the course reserve page for more information).
		The subject and countersubject must be invertible (texturally) at the octave, and they must appear in inversion during the piece.
		Include 3-4 sequential episodes leading to closely related keys, and entries of the subject and the countersubject in those keys.
	theory.music.indiana.edu /t251h/inventionproject.htm (335 words)

	Concepts of Fugal Form (Site not responding. Last check: 2007-11-05)
		The simultaneous use of multiple countersubjects may be a case of diminishing returns: it may give too much repetition in the music (as in a permutation fugue that may sound like a perpetual canon).
		The abandonment of a countersubject, once it has been introduced into the music, is a surprisingly frequent occurrence.
		The countersubject, or multiple countersubjects, can be used as a formal device.
	www.humanities.mcmaster.ca /~renwick/PRECIS.htm (5070 words)

	MUS 311 Counterpoint, Study Guide O
		A countersubject and its subject must be invertible, i.e., work as an upper or lower voice.
		In most fugues, the point at which the subject ends and the countersubject or free material begins is quite clear.
		As in 3-part inventions, the end of the subject is sometimes followed by a "link" that keeps the rhythm going and leads smoothly to the first note of the countersubject or free material.
	spider.georgetowncollege.edu /music/burnette/Mus311/311o.htm (740 words)

	MusicTeachers.co.uk Online Journal - Teaching Resources - Edexcel analyses for A level (Site not responding. Last check: 2007-11-05)
		The countersubject dovetails with the subject so that there is a constant stream of semiquavers; its figuration is the antithesis of the subject, however: where the subject relies on arpeggiated figures, this employs conjunct movement until bar 11, where dotted quavers add harmony notes.
		The material in the bass is a sequence derived from the codetta, and is here accompanied in the upper register by dotted-quaver chords which point the harmonies through a series of perfect cadences: A maj. (22); E maj. (23); b min.
		A stroke of genius: the original subject from Section A is used as the countersubject to achieve unity, the second bar of which, once again, prepares us for a transitory modulation to G maj. (56 - 57), a min.
	www.musicteachers.co.uk /journal/index.php?issue=2000-11&file=edexcelbach&page=3 (576 words)

	double fugue
		Where a countersubject is almost always subservient to the main subject, a second subject usually enjoys its own independant exposure in a full exposition where the initial subject is absent.
		Like a countersubject, however, the second subject combines with the first subject so that both ideas blend into synergistic counterpoint.
		However, unlike a countersubject which appears very early in the fugue (often in the exposition against the second subject entry), the second subject in this kind of double fugue appears later where it emerges as a fresh idea, a new and dramatic development.
	www.earsense.org /Earsense/WTC/Vocabulary/doublefugue.html (331 words)

	Questions on Fugue No. 16 (WTC Book I)
		Whereas the subject is made of motives m & n, the countersubject is made of u & w.
		When the subject and countersubject exchange registers, motivic variations are produced.
		When motives m & n (the subject) are melodically inverted to yield the countersubject, textural variations are produced.
	jan.ucc.nau.edu /~tas3/wtc/i16quest.html (396 words)

	[#version:"Version 2
		After each opening section, the subject appears five more times, each time preceded by an episode, a period in which the entire subject is not played.
		The first episode uses both new material and a melodic idea from the countersubject.
		Though the fugue is in minor, it ends with a major chord, a frequent practice in the Baroque period--major chords were thought to be more conclusive than minor chords.
	www.austin.cc.tx.us /mwoodruf/music/Bach.htm (512 words)

	Formal Scheme Diagrams (Site not responding. Last check: 2007-11-05)
		The countersubject often leads to a codetta to provide a modulation back to the tonic key before the next voice enters.
		They connect the subject and its countersubject, or any passage that will be in free counterpoint with the answer.
		A good link should come out of the end of the subject in a natural way, so that the ear may be unsure when the subject has ended and when the link gives way to the countersubject.
	www.music.indiana.edu /som/theory/t511/form.html (791 words)

	Fugitive Integration: a musical addendum to Liberation of Integration
		Subject and countersubject arc the two principal "actors" of the fugue, and theoretically all the musical substance must he derived from them.
		Generally it uses a motive from the subject or the countersubject, but sometimes a new element is introduced.
		The latter yields, in general, a tripartite scheme: exposition and development of the first subject, exposition and development of the second subject, and finally combination of the two elements, which are devised so that they can be superimposed.
	laetusinpraesens.org /docs80s/82fuqe.php (4033 words)

	Principles of Counterpoint (Site not responding. Last check: 2007-11-05)
		The countersubject is a recurring counterpoint to the theme, often (but not always) adding its own motives.
		In the opening exposition of a fugue, normally each voice enters with the subject in turn, and then continues with the countersubject (if there is one) while the remaining voices come in.
		The countersubject, if there is one, may or may not be present.
	www.musique.umontreal.ca /personnel/Belkin/bk.C/5.html (3413 words)

	Northern College Music Department Document
		In Fugue an episode can be used as a modulating link between entries of the subject and is frequently based on fragments from the subject or Countersubject.
		The first section of a movement in Sonata form (Exposition - Development - Recapitulation) or the first section of a Fugue where each voice has played or sung at least one entry of subject or answer.
		In a Fugue, after the subject or answer is played, the continuation on that same instrument or voice is called the countersubject.
	www.abdn.ac.uk /emt/terms/H_S.html (635 words)

	Free-Essays.us - J.S. Bach’S Organ Fugue In G Minor
		The countersubject first appears in the top voice in the last beat of the sixth measure.
		However, instead of a total repetition, there are variations of the countersubject prevalent in the remaining voices.
		For example, only the first two measures of the countersubject appear in the second voice with the rest free material, whereas the third voice contains a majority of the countersubject with limited free material.
	www.free-essays.us /dbase/c4/blc340.shtml (275 words)

	Counter-melody - Wikipedia, the free encyclopedia
		Typically a counter-melody performs a subordinate role, and is heard in a texture consisting of a melody plus accompaniment.
		The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue.
		This page was last modified 23:57, 25 May 2005.
	en.wikipedia.org /wiki/Counter-melody (87 words)

	fugue (Site not responding. Last check: 2007-11-05)
		The use of a countersubject has the advantage of making the music more tightly composed, in terms of motive, and often makes the music easier to write, since there is correspondingly less free counterpoint to compose against the various entries of the subject.
		The simultaneous use of multiple countersubjects, while in itself a feat of the technique of invertible counterpoint, is not usually effective in fugal composition, since it gives too much repetition to the music.
		He says:-- `n case a fugue be so disposed as that several countersubjects are introduced at thesame time the principal subject is proposed for the first time, these counter-subjects should be invariable in their inversions dueint the whole course of the fugue.
	www.humanities.mcmaster.ca /~renwick/fugue.htm (10724 words)

	ProfileV.html
		7 combines the countersubject with a truncated and modified version of the heard of the very opening theme (horn, P. Notice how the order of elements is freely changed (compare Violins 1 and 2 at Reh.
		7; the eighth-note countersubject figures freely develop underneath.
		3) and is set in place by the juxtaposition of the countersubject in the strings.
	www.minotaurz.com /minotaur/edu/orch_profiles/ProfileV.html (810 words)

	Composing Fugues and Fugattos (Site not responding. Last check: 2007-11-05)
		Nevertheless, there are certain formal elements present: The required exposition, where the subject, answer, and countersubjects (Or free voices if strict countersubjects are not employed) are first presented, an optional counterexposition, episodes (Either non-modulatory or modulatory), middle entries, some sort of a recapitualtion, and an optional coda or codetta.
		This relative major area could be called either a middle entry or a counterexposition, as the definitions of those two terms have a degree of nebulousness to them, but I consider it a counterexposition since both subject and answer are present.
		With the second appearance of the answer in the relative major, all elements of the fugal exposition have been presented: Subject, countersubject one, countersubject two, answer, counteranswer one, and counteranswer two.
	suhar.bankruptcychapters.info /Composing_Fugues_and_Fugattosmusic_mp3_listen_download.html (1288 words)

	Science Fair Projects - Invention (music)
		The subject is then repeated in the second voice in the dominant key while the initial voice either plays a countersubject or plays in free counterpoint.
		The lower line usually plays the countersubject, and if there is no countersubject, plays in free counterpoint.
		The invention is primarily a work of Johann Sebastian Bach.
	www.all-science-fair-projects.com /science_fair_projects_encyclopedia/Invention_(music) (556 words)

	Musical Times: Decoding Bach 3: Stringing along
		In the cello transcriptions the first statement of the fugue subject is an octave lower than for the organ (ex.2) and the repeating note again is an open A string.
		(4) Normally there is a dynamic interplay between subject and countersubject in a fugue, but here the energy is concentrated in the subject, with the countersubject limply shadowing it in thirds and sixths (ex.2).
		This is what would be expected if, in the original, a fugue had been sketched out by a solo stringed instrument playing each fugal entry in turn without supporting counterpoint (as happens in the prelude to the C minor cello suite), with the countersubject created by a transcriber simply filling in.
	www.findarticles.com /p/articles/mi_qa3870/is_200010/ai_n8909869 (1050 words)

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