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In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia, the ricercar, and later, the canon and fugue (the contrapuntal form par excellence) all feature imitative counterpoint, which also frequently appears in choral works ...
The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal composition." [5] In counterpoint, imitation occurs in a second voice, usually at a different pitch. A short phrase treated imitatively is called an attacco.
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
Example of a canon in three voices at the unison sung with a text of a German poem, four beats apart. In music , a canon is a contrapuntal ( counterpoint -based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).
The opening line shows the lyrical use of imitative counterpoint. The work was composed during Josquin des Prez's service at the North Italian court at Milan. It was initially thought to have been copied into the manuscript Munich 3154 by 1476. [1] Subsequent work by Joshua Rifkin established the date of publication to about 1485. [2]
A sample of fugal themes from Raison's Premier livre d'orgue (click the image for details) Many of the pieces are notable for their consistent employment of imitative counterpoint: for example, the Fugue grave of the third mass is fully imitative, a strict four-voice fugue, and even the passacaglia begins with an imitative passage.
Baroque examples [ edit ] In Baroque music , especially in France where the motet was very important, there were two distinct, and very different types of motet: petits motets , sacred choral or chamber compositions whose only accompaniment was a basso continuo ; and grands motets , which included massed choirs and instruments up to and ...
This counterpoint of the first theme prolongs the orchestral introduction with chords, recalling the beginning of the work and its rhythmic and melodic shiftings (the first basset horn begins a measure after the second but a tone higher, the first violins are likewise in sync with the second violins but a quarter note shifted, etc.).