SCART

The University of Oxford

Preliminary Examination in Music
SCART: Stylistic Composition, Arranging and Transcription
1b: Baroque counterpoint
SCART | Fugal exposition

This lecture course:

• Introduction

• 1a) 16th-century modal polyphony

• 1b) Baroque instrumental counterpoint

• 2a) String Quartet

• 2b) piano accompaniment for a solo line

• 2c) Jazz lead-sheet realisation

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The Answer i)

There are two kinds of Answer:

• Real – a literal transposition, note by note, of the S into the

dominant key; either a 5th above or a 4th below the S

• Tonal – where the intervals of the S are adjusted, or

‘mutated’ in order to preserve the tonic key throughout the
exposition, despite the alternation of tonic and dominant
entries
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The Answer ii)

Real Answer (e.g. 1)

J.S. Bach (1685-1750) Fugue in C (BWV 846)

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The Answer iii)

Real Answer (e.g. 2)

Élisabeth de Haulteterre (Levésque) (1720?–1768) Duet fugue

from Troisième suite
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The Answer iv)

There are 3 cases where Tonal Answers are used:

Prominent I-V in the S (e.g. 1)

J.S. Bach Fugue in c (BWV 537)

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The Answer v)

Prominent I-V in the S (e.g. 2)

This also applies when V is reached via arpeggiation:

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The Answer vi)

Starting on 5th degree of the scale (e.g. 1)

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The Answer vii)

Starting on 5th degree of the scale (e.g. 2)

Handel – Flute Sonata Op. 1 no. 9

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The Answer viii)

Modulating Subjects
- Some subjects modulate to the dominant, and the tonal answer must
therefore modulate back to the tonic.

- The best way to deal with this is to split the subject into two sections,
and transpose accordingly.

- There may be more than one possible solution.

- The modulating subject may be applied to subjects which fall into

either of the earlier two categories: i.e. Prominent I-V OR Starting on V
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The Answer ix)

Modulating subjects and possible answers (e.g. 1)

J.S. Bach – Cantata Singet dem Herrn ein neues Lied

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The Answer x)

Modulating subjects and possible answers (e.g. 2)

J.S. Bach – Fugue in C BWV 547

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The Answer xi)

Modulating subjects and possible answers (e.g. 3)

J.S. Bach – Fugue in C BWV 564 (extract a)

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The Answer xii)

Modulating subjects and possible answers (e.g. 3)

J.S. Bach – Fugue in C BWV 564 (extract b)

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The Answer xiii)

Modulating subjects and possible answers (e.g. 4)

J.S. Bach – Fugue in b BWV 869

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The Answer xiv)

How to work out the answer. In summary:

• Decide whether you need a real or a tonal answer – check if the subject falls into one
of the 3 categories for a tonal answer

• As a default, each note of the subject is transposed up a 5th, or down a 4th, to create
the answer

• Once you have the preliminary transposition, make any necessary adjustments
(mutations) according to the principles set out above for tonal answers.

• Note that subjects starting on V or modulating subjects are adjusted in this way
during the answer in order to assist the flow of the exposition: they allow the music
to cadence in the key necessary for an immediate entry of the next voice
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Bibliography and useful weblinks

• Dreyfus, Laurence, Bach and the Patterns of Invention
(Cambridge [Ma] & London, 1996), Chapter 1

• Rose, Bernard, Fugal Exposition (Oxford, 1988)

• Verrall, John, Fugue and Invention in Theory and Practice

(Palo Alto [Ca], 1966)

• High Baroque Fugal Exposition – Open Music Theory

(pressbooks.pub)
SCART

The University of Oxford

Preliminary Examination in Music
SCART: Stylistic Composition, Arranging and Transcription
1b: Baroque counterpoint