I.

One of the main characteristics of a good two-part counterpoint is its formal

construction, which is how the melodic material will be explored and all the
different development techniques applied.
In both examples we can find how the composer extensively developing
a few motives. In the first example, one can observe the usage of modulation.
The composer states the upper voice’s first motivic idea on the first measure
and immediately on the second measure repeat the exactly same idea on the
next diatonic pitch. The same happens on the lower voice. On measure 5 of the
first example, the composer restates the motivic ideas of the first measure but
now with in different voices – the upper voice motive is now on the lower
voice, and vice-versa. On the second example one can observe another kind of
development called repetition. The composer states a motive on the upper
voice’s first two beats, followed by the repetition an octave down on beats 3
and 4 of the first measure. It happens again on the second measure.
Another characteristic of a good counterpoint is the contrary motion
between the two voices, which can be observed on the two first measures as
well as in the two last measures of the first example. The rhythmic balance
between voices is a counterpoint characteristic that can be found in the second
example. While the upper voice has more movement, the lower voice has more
space and vice versa.

II. There are several items to observe when looking to a cadence in Bach
Inventions. The first characteristic is the perfect 5 th or 4th movement on the
lower voice. This is one of the most precise and clear bass movement regarding
cadences in the Baroque era. A second characteristic to be notice is the
stepwise approach to the tonic note on the top voice. On the examples provided
one can notice 2 different melodic endings. First is a diatonic step that
concludes on the tonic note. The second is an anticipation of the tonic note
within the V chord, and than the repetition of the tonic note.
A third characteristic can be notice in examples 2, 5, and 7. The thrill
when a long note precedes the resolving tonic note on the upper voice -
creating tension before the release of the tonic chord. The fourth and last
characteristics that can be pointed out on these examples would be the
harmonic movement previous to the V-I resolution. Although functional
harmony was not established at the Baroque era, one can notice along the
works of that time the influence of the cycle of fifths. Examples number 1, 2, 3,
and 5 presents a IV (iv) or a ii6 preceding the dominant.

III. Chromaticism in the Baroque counterpoint had a specific role, and the three
examples on this question presents three different ones.
On the first example there is only one note that had been altered when
we look back to the key signature – on the first measure, second beat. This Eb
on the second half of the beat can be explained by the harmonic movement that
happen in the 3rd beat. If we pay close attention, the first half of the 3 rd beat
clearly states an IV (Bb) arpeggio. So, the Eb on the 2nd beat can be explained
as a tonicization of the Bb, creating a V7 of IV (secondary dominant) amidst
the F major key. It is important to highlight how this Eb fits the compound
melody that structure this whole excerpt, moving from F, to Eb, and than to D.
The second example is in D# minor and has 2 alterations: a C double
sharp and a B sharp. Both alterations are in the upper tetrachord (5 th to 8th).
They both happen in this example, in order to tonicize D# minor.
The third and last example presents two chromaticism techniques
overlapping. The more obvious one is in the upper voice on the bottom part of
the compound melody – C, to B, to Bb, to A, namely from the 3 rd to the tonic.
The line continues after that to G# and than back to A. The overlapping
technique happens between the lower voice and the top part of the compound
melody on the upper voice. This is a more harmonic kind of movement going
from i to V. The final progression between those lines would be VI6 - vi6 - III6
- iii6 - iv6 – V.

IV. The basic principle that defines a canon work is the first statement of a
musical idea – named dux – and the restatement of that idea, that follows –
named comes. The dux can have different lengths, and also can be restated in a
number of different ways, as one can observe on the examples.
The first example – a two voices canon - has a one measure dux, and
start at the tonic note of the key – G major. It presents one important
characteristics of canons: the comes can be stated in octave above or bellow the
dux, as well as in other intervals. In this case, it is presented a 9 th above the dux,
which means that every statement made by the voice that presented the dux will
be restated a 9th above it.
The second example is a canon at the 6 th and it has a half measure
length distance between dux and comes. In this particular example one can find
another important canon characteristic: the presence of a third voice that moves
not accordingly to the canon, but in free counterpoint. In this example one can
find this third voice on the lower register, while the canon itself happens
between the two voices above it.
The third and last example is a canon at the 5 th, with a measure between
the dux and the comes, and with a third voice in the bottom that happens
outside the canon – in free counterpoint. The canon work characteristics
presented by this canon is related to how the comes restate the dux. In this case
– besides the 6th interval – the comes is a mirrored version of the dux, which
means that every melodic movement made by the dux will happen in the
opposite direction on the comes.