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In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically interdependent yet independent in rhythm and melodic contour. [1] The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note".
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
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 ...
While maintaining the structure of the theme—the passive bass, so to speak—Brahms may actively create melodies and figurative patterns (including melodies "discovered in" the bass), project different contrapuntal textures, and draw on an expanded harmonic vocabulary, sometimes interpreting the melody as the bass of the harmony or regarding ...
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
In music, an invention is a short composition (usually for a keyboard instrument) in two-part counterpoint. (Compositions in the same style as an invention but using three-part counterpoint are known as sinfonias. Some modern publishers call them "three-part inventions" to avoid confusion with symphonies.)
The title page of Mus. ms. autogr. P 200, which bears the title Die / Kunst der Fuga / di Sig.o Joh. Seb. Bach. / (in eigenhändiger Partitur). The earliest extant source of the work is an autograph manuscript possibly written from 1740 to 1746, usually referred to by its call number as Mus. ms. autogr.
"A fugue is a contrapuntal composition in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation and recurs frequently in the course of the composition. In addition to the broad general contrapuntal design, certain formal characteristics are well established.