CST 1511 ASSIGNMENT 08 COUNTERPOINT [100 marks]
Counterpoint A [30 marks]
Compose two counterpoints for the cantus firmus that is printed below.
Your submission needs to accommodate the species which makes
exclusive use of SUSPENSIONS and adhered with regard to specific
details that are given underneath:
• One counterpoint must be composed to work as the upper line of the
resultant two-part texture (transposing the given melody down a SINGLE
octave in order to facilitate constructing your answer is allowed in this
case)
• One counterpoint must be composed to work as the lower line of the
resultant two-part texture (transposing the given melody is NOT allowed
in this case)
• You may not duplicate any substantial part of a counterpoint given in
one answer in the other counterpoint given to answer this question
(starting points and cadences are exempted from this restriction only to
a small degree)
• Indicate the implied harmonic framework using appropriate Roman
numerals BELOW the lowest stave for EACH answer
• Indicate the vertical interval structure by placing an Arabic number
BETWEEN the staves for EACH answer – all suspensions need to be
indicated
• You may write your answer using treble and bass clefs where
appropriate
• Each counterpoint you add must show sufficient evidence of a well-
planned melodic arc – the climax should therefore not coincide with
where it is placed in the given line
• Your answer should be written in staff notation and reflect appropriate
use of standard practices in that regard
Counterpoint B [35 marks]
Compose two counterpoints in florid style for the opening fragment of a
minor key (in the first half) and major key (in the last half) of the chorale that
is printed below. Your submission needs to accommodate the stipulations
with regard to specific detail that are printed underneath:
• One counterpoint must be composed to work as the upper line of the
resultant two-part texture (transposing the given melody down a SINGLE
octave in order to facilitate constructing your answer is allowed in this
case)
• One counterpoint must be composed to work as the lower line of the
resultant two-part texture (transposing the given melody is NOT allowed
in this case)
• As the rhythm of the given melody is restricted, you are expected to be
rhythmically inventive with your added counterpoints. Limit your choice
of note-durations however, to crotchets, quavers and semiquavers.
• You may not duplicate any substantial part of a counterpoint given in
one answer in the other counterpoint given to answer this question
(starting points and cadences are exempted from this restriction only to
a small degree)
• Indicate the implied harmonic framework using appropriate Roman
numerals BELOW the lowest stave for EACH answer
• Indicate the vertical interval structure by placing an Arabic number
BETWEEN the staves for EACH answer
• You may write your answer using treble and bass clefs where
appropriate
• Each counterpoint you add must show sufficient evidence of a well-
planned melodic arc – the climax should therefore not coincide with
where it is placed in the given line
• Your answer should be written in staff notation and reflect appropriate
use of standard practices in that regard
• Indicate details of expression such as articulation, slurs and dynamics
where appropriate
Counterpoint C [35 marks]
Compose two FLORID counterpoints using complementary rhythm for the
instrumental Minuet that is printed below. (Imagine that it starts off the
middle movement of a Baroque-period Oboe Concerto). Your submission
needs to accommodate the stipulations with regard to specific detail that are
printed underneath:
• One counterpoint must be composed to work as the lower line of the
resultant two-part texture (You are NOT allowed to transpose the given
melody in this case)
• One counterpoint must be composed to work as the upper line of the
resultant two-part texture (transposing the given melody down an
octave or two to facilitate constructing your answer IS allowed in this
case)
• You may not duplicate any substantial part of a counterpoint given in
one answer in the other counterpoint given to answer this question
(starting points and cadences are exempted from this restriction)
• Indicate the implied harmonic framework using appropriate Roman
numerals BELOW the lowest stave for EACH answer
• Indicate the vertical interval structure of EACH given answer by placing
an Arabic number BETWEEN the staves.
• Write your answer using treble and bass clefs where appropriate
• Each counterpoint you add must show sufficient evidence of a well-
planned melodic arc – the climax should therefore not coincide with
where it is placed in the given line
• Your answer should be written in staff notation and reflect appropriate
use of standard practices in that regard
• Indicate details of expression such as articulation, slurs and dynamics
where appropriate
