How do you separate the voices in a counterpoint piece?

[dtmowns]

I realize that this is something I should be able to learn without making a topic, but after several google searches I haven't found exactly what I want. I have had little musical theory training but I feel it is necessary for me to separate and learn the voice independently before I tackle my first true counterpoint. I assume that in a 2 part invention the voices are generally the two different hands, but what about when more voices are added? I am also curious as to how I can pick out the motif and isolate it even when it is retrograde etc....

Thanks everyone!

[lostinidlewonder]

Get a recording and sing one of the voices while listening to it. There is no need to bring out one voice over the other, on a piano people may feel a tendancy to do so, but on the organ, harpsichord or clavichord which these pieces where written for, you would never feel obligated to do so (or even have the capability to do so). So you probably take away a lot more than what you gain from trying to bring out one voice over the other. The idea is to have a mixing of voices, which does not require us to bring out the invidivual voices in a unique way, but rather allow them to interact with each other to reveal the counterpoint/polyphony.

You should be able to visually notice which notes in the sheet music belong to which voice, if not you will need to develop sight reading skills. When listening to a performance you should be able to hum whichever voice you wish.

[baadshah]

taking the previous idea one step further,  if you are playing a fugue, particularly a 3 or more part fugue,  play it with a voice omitted, which you hum/sing instead. Its important to keep the same fingering as you would have used if playing the full piece, even if this results in some odd fingering.

You can then switch to singing a different voice, each one in turn. This is really useful for bringing out the voices, and ensuring that the voices keep their own phrasing and dynamics, even when another voice goes against them. And even on the harpsichord or organ, although different from the piano, there are still ways of bringing out voices (different organ stops, articulation etc). Otherwise a fugue just becomes block chords, mashing up the dynamics of each voice.