Free Counterpoint TwoReprise Form

1
Free CounterpointTwo-Reprise Form

• Elaboration of the Counterpointing Voice

2
Diminution

• Free counterpoint is the elaboration of both
  parts and neither is derived from a given melody.
• DO NOT forget the underlying note-against note
  setting.
• Maintain a constant rhythmic balancing of the
  voices - when one voice moves the other sustains
  and vice versa.
• Motivic unification is important.
• Momentary tonicizations will usually involve
  chromaticism.
• Avoid cross-relations between voices.

3
Simple Two-Reprise Form

• The Two-Reprise or Binary form is common.
• Two sections of music set off by a repeat sign.
• The two sections do not have a thematic AB
  relationship.
• Generally 8 bars for the A section and either 8
  or 88 for the B section.

4
Simple Two-Reprise Form

• There is no stereotypical melodic or thematic
  structure.
• The opening material undergoes constant
  development.
• The underlying tonal scheme delineates the form.
• The first section is normally divided into two
  4-bar phrases.
• In some cases it may be difficult to find
  cadential punctuation halfway through the section.

5
Simple Two-Reprise Form

• After establishing tonic, the A section then
  moves toward the tonal goal of the second
  section.
• In major, the first section can cadence on tonic,
  a half-cadence, or tonicize the dominant scale
  degree (V).
• In minor, the first section can cadence on tonic,
  a half cadence, tonicize the dominant scale
  degree (v is minor!), or tonicize the mediant
  (the relative major).

Major Minor I I i
i I V i
V I T/V i T/v
i T/III
6
Simple Two-Reprise Form

• The second section, or reprise, consists of a
  movement away from tonic (if the first reprise
  cadenced on tonic) by means of sequential
  patterns or the exploration of closely related
  keys, and then a return to tonic in the latter
  part of the section.
• The restatement of tonic may coincide with a
  return of the initial thematic idea from the A
  section -- Rounded Binary -- but this is the
  exception for this period.

7
Simple Two-Reprise Form

• There are three stereotypical formulas that
  commonly appear at the opening of the second
  reprise.
• The Ponte prolongs the dominant harmony in
  preparation for the return of tonic.
• The Monte (mountain -- it has a rising contour)
  is a sequential pattern involving V7/IV-IV-V7/V-V
  and then a return to tonic.
• The Fonte (fountain -- it has a falling contour)
  is a sequential pattern involving V7/ii-ii-V7-I.
• It is possible to tonicize other closely-related
  keys, but it is only briefly done due to the
  short duration of the pieces.