80 Writing ofShort Two- Voice Pie< Writing ofShort Two-Voice Pieces 81

Example 1 ANON.: Menuet* The march in Example 2 is likewise bipartite in structure. But this time, the first
part ends in the dominant key. The general principle demonstrated in this example
J
:
I
and the preceding one is that movements of dance suites (or similarly constructed
pieces) in major modulate to the dominant by the end of the first part, while those in
minor normally modulate to the relative major.
Example 2 (unlike Example I) contains much repetition, both within phrases and
on a broader scale. The second part begins with a dominant restatement of the open-
~ it. ing material, a very frequent arrangement in suite movements; the overall plan might
112. l
be described as A A'. Notice that each of the parts is extended by one measure (in
which the lower voice appears to be imitating a drum beat), so that a nine-measure
phrase results each time.

Example 2 ANON.: Marche*

" • . .. .. I J I I

)
~

:
I L l
.. J
.. ............_,
- -

j J II

*This and other pieces in this chapter that are marked with an asterisk are from the Notenbiichleinfiir
Anna Magdalena Bach (The Liule Notebook for Anna Magdalena Bach). This is a collection of some fortY
short and easy pieces, some bearing J. S. Bach's signature, two by other known composers (Couperin and
Georg Bohm), and the majority unsigned. Certain of the latter may be by Bach. On the other hand, a good
many are in the lighter "gallant" style markedly different from his. The original notebook, as presented by
Bach to his second wife, apparently contained only copies of two of his partitas; the other pieces were
added over a period of years by Anna Magdalena Bach and others. The original copy is described as being
covered with green paper over a hard base, with pressed-in gold rims, two locks, and a red silk ribbon. On
the cover were three large gilded letters: A M B, with the date, 1725, below.
90 Writing of Short Two- Voice Pieces
ChapterS
Example Sd PURCELL: Air

)!: : ~ =; ~ ~ 1:! : ~~~: ~ l Canon

)!: :::-:J: :I 11: ::;~1

- -
J
i ., ~~r etc.

If a melodic idea in one voice is duplicated in a second voice that begins before the
first has finished, the result is called a canon. One type of canon, the round, is familiar
It might be well to point out that most contrapuntal forms use neither the ~eriod .con-
even to nonmusicians through such favorites as "Three Blind Mice" and "Row, Row,
struction nor the part-forms seen in the examples in this chapter. Fugues, mvent1ons,
Row Your Boat"; other types have been used in more serious music for centuries. As a
canons, and most chorale forms are constructed on a motivic basis and proceed contin-
rule, the canonic treatment is applied merely to a portion of a work rather than to the
uously, without the complete stops at cadence points and the "double-bar" effect that
entire composition, though such exceptions as the canons in Bach's The Art of Fugue
characterize the part-forms. True, they generally involve broad sections marked by
could be cited.
cadential patterns; but at cadence points the motion persists in one or more voices.
A distinction is sometimes made between true canon, in which the imitation is
Consequently the total effect is very different from that of Baroque dance-suite forms.
carried out consistently, and "canonic imitation," in which the imitation may be
dropped after each voice has stated the initial material, as in the stretto sections of
SUGGESTED ASSIGNMENTS
some fugues. (Strettos will be discussed presently.)
Page in The first voice in a canon is known as the "leader," while the imitating voice is
Workbook called the "follower." The Latin terms for these are dux and comes, respectively. If
more than two voices are involved, the terms "first follower," "second follower," and
I. Analyze the dance-suite movement in the Workbook. 37
so on are used.
2. Analyze a movement or movements from a Baroque
dance suite, as specified by the instructor.
3. Write a short two-voice movement in dance-suite style.
THE TWO- VOICE CANON AT THE OCTAVE
4. Write a short contrapuntal piece in freer style.
The two variables in canonic writing are the harmonic interval-that is, the distance
SELF-TEST
measured vertically between the first note of the leader and that of the follower-and
the time interval. The most common harmonic interval is the octave, and that is the
1. What form is most often seen in movements of dance suites?
one employed in Examples 1, 2, and 3. (The use of other harmonic intervals will be
2. What key patterns are likely to be involved within individual movements of
demonstrated in later examples.) The time interval in canons may be anything from
dance suites?
one note to many measures, though the use of either extreme is rare. If the time inter-
3. What is the principal difference, in terms of form, between most dance-suite
val is very short, the chances are that the listener will not have heard enough of the
movements and the Preludes in the Well- Tempered Clavier?
~eader to recognize it in the follower; if the interval is too long, he may have difficulty
4. Name the four "basic" suite movements.
Ill retaining the beginning of the leader in his mind until the same material appears in
5. Name four other suite movements sometimes included.
the follower. In Example Ia the time interval is four measures, in b, two measures.
6. Where (and why) are extra notes sometimes introduced in two-voice pieces?
91
 The Two-Par·t Invention ; M olive Development /2 7
Chapter IO
THE 1WOTIVE
The term motive has been defined in variou~ ways. By some it is considered the
equivalent of a figure. or the smallest possible unit in a melodic phrase. To others it
signifies a melodic statement of somewhat greater length, often one or two measures,
The Two-Part Invention; though seldom more than four. This Iauer meaning is the one that we shall adopt for
present purposes.

Motive Development
J. S . Bach wrote fifteen two-voice compositions which he called lnventionen and fif-
teen three-voice works called Symplzonien (Sinfonie. in Itali<m). These an:: now gcner-
alty known as the "Two-Part Invention~" and the "Three-Part Inventions." An
Motives in the Bach Two-Part Inventions range all the way from a half measure, as
in Example la, to four measures, as in h. ("M.'' there stands for motive, "CM." for
countermot ive.)
There is often some corroboration of segments within the motive. In a the only
repetition is a two-note figure of a failing 3rd (not enough to qualify as a sequence).
In b the whole first mcasun: is n:peated in chamctcristic sequential fnshion.
Most motives define the key and th~.: rhythmic structure quickly. In cases where
either of these clements is not entirely clear (for example, if the motive begins on the
fifth of the scale), an accompanying voice such as the one in Example lb is gcoerally
included to clarify the musical situation. Also, all good motives have some distinct ive
f~'arure, melodic or rhythmic or both, that gives them interest and mr~kcs them easily

i~rvention could be defined as a short contrapuntal work Cl.1ltering around the devel- n::cognizable in subsequen t appearances.
opment of material from one or two motives. Although inventions have been written
by other composers from time to time, the number of them is small, r~nd they have not Example Ia RACH: l'wo-Parl Invention No. 1
become staples of musical literature as the Bach inventions have. Consequently,
when we speak of "inventions," we gencrr~lly have those by Bach in mind. The Two-
M CM.
- M
.• .. 01
' .
- --
Part Inventions will be used as the basis for this chapter.
A question that mrght legitimately bl.! raised is this: Why should these works be
studied when they represent a form so se ldom encountered (especially by non-
)
II

cJ ... .. •
~

li
.====

.~ . ~
pinnists)? Among the rmswcrs that might be given arc the following: (I) In spite of ~:..

their brevity, the Inventions are music ofthl! highest order. In ~hem, attmctive motivic .~~ .
material is developed in a masterly way; imagination and never-failing freshness M. M.
combine with an astonishing economy of means. Getting to know this music is con-
sequently an enriching experience for all musicians. (2) The Two-Part Inventions
involve, on a small scale, most of the contrapuntCJI devices found in larger forms to be E:xample Ib RACI-I: Two-Part I mention No.5
studied later. These devices CCJn most easily be introduced in the context of two voices M.
(as opposed to three or four) and in short compositions. (3) The principles of inven-
tion construction are not confined to works actually titled Invention. For example,
Preludes such as Numbers U and 18 in Book I of The Well-Tempered Clavier and
certCJin movements (notably some Preludes) of Bach's Suites and Partit.as arc essen-
tially inventions. (4) After doing basic exercises in two voices, students arc usually
asked to do some writing of contrapuntal forms. The two-part invention is one that is
CM.
appropriate for them to undertake at that stage, whereas fugues or chorale forms nor-
mCJlly involve at least three voices. Obviously, the Bach Two-PCJrt Inventions serve
admirably as models for this type of project. Some of them will now be cxaminc<L
and the pnnc1plcs involved in their eonsrruction wiJI be discussed.

126